I want to extend a hearty welcome to thriller writer Mary Deal, my guest blogger today! Mary is a native of Walnut Grove in California’s Sacramento River Delta, has lived in England, the Caribbean, and now resides in Kapaa, Hawaii. (I’m insanely jealous). She has published three novels: The Tropics: Child of a Storm – Caught in a Rip – Hurricane Secret, an adventure suspense; The Ka, a paranormal Egyptian suspense; and River Bones, a thriller, which was a winner in the Eric Hoffer Book Awards competition. A sequel is being written. Down to the Needle, her next thriller, is due out early 2010. Mary is also a Pushcart Prize nominee. Read More
Tag Archives: Needle
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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Outlining a Story
Writing a novel, even a short story, and keeping details and action in some semblance of order can be a daunting task. A loose outline, even a simple list of occurrences, can be the best aid to keep you writing on track.
I began using a structured outline but have since been able to keep facts in order by making a running list of plot points and anything else I need to remember.
We all remember learning about outlines in school. To me, they were rigid with a lot of requirements and I spent more time trying to remember how to title the information than getting the data on paper.
As a writer, you will have had more experience with keeping an accumulation of facts in your mind as you pound the keys. Or maybe you’ve gotten lost in all the twists and turns of your story. Here’s some easy help. For example, let’s say your story is about a woman searching for her abducted daughter.
Keep in mind that all stories need the following:
Here’s a simple outline to keep the plot on track. My notes in parenthesis are for your understanding and need not appear in your outline unless they further help you.
Title at the Top
1-Abi’s daughter was abducted (told in present time, with some back story (SETUP)
2-Abi learns of a young woman her daughter’s age on Death Row (Rising Action)
a-The inmate faces lethal injection for a crime she didn’t commit
3-Twenty-three years have passed but similarities exist between the inmate and Abi’s daughter
a-Abi begins an intense investigation, including DNA, to learn if the inmate is her daughter
b-Abi pays to restore the sight of the only eye witness.
4-While Abi investigates; her home is torched, as is the sole witness’s home (Reversals)
a-With restored sight, the sole witness skips town.
b-Abi discovers an undercurrent, one to get the inmate to pay for crimes of others
5-DNA proves the inmate is Abi’s daughter (Recognition)
a-Abi fights to prove the innocence of the inmate
6-The case goes all the way down to the needle (Climax)
a-The lethal injection chamber
7-How the story ends after all the action plays out; how the characters’ lives are affected by the climax. (Denouement)
For the sake of this newspaper column, everything begins on the left margin. When you make your list, you can indent the a and b lines to set them off to detect them easily.
It’s as simple as that. The Setup should be brief, intense so the reader is drawn into the plot and can’t leave. The bulk of your story will be contained in Rising Action, Reversals and Recognition. The Climax should be unexpected, brief and stunning, or stinging. The Denouement is a wrap up and should never be more than one or two very short chapters. It can also be handled with anything from a few lines to a paragraph or two.
As you work with your outline, you can lengthen any area. I make more notes for the middle portions because that comprises the bulk of the story.
Another form of outlining: Many people prefer to put each new scene on a 3×5 card and write each scene before going on to the next. I prefer to have a running outline which I sometimes print out so I can see the whole story at a glance.
By the way, the story I’ve just outlined is from my latest thriller, “Down to the Needle.” If you read it, you will see most of the book is NOT included in the outline. Outlines are merely the main plot points but can be as detailed or as simple as you can work with. My outline here is simple. The story itself has so many twists and turns that could only happen by not tightly structuring the creativity of my muse. Read More
Tip #1 – Store Your Notes
Usually when I see great writing tips, I have a file set up in Word called – what else? – “Writing Tips.” I copy and paste the advice into my file to refer to when needed. Any handwritten notes I’ve made as reminders also get posted there.
Tip #2 – Be Prepared to Write
Keep writing materials handy no matter where you go. That one item you forgot to write down, and then forgot completely, could have been the one fragment that made your story memorable.
A true writer makes notes everywhere they go. If we’re without a laptop, as I am, we carry note pads and pens. JK Rowling used paper table napkins because she used to sit in her favorite cafe lamenting on her jobless plight – till a shift happened in her mind and she started penning the notes for her first novel.
Tip #3 – Beginnings
Avoid using empty words to start a story. Some empty words are:
There – refers to a place
They – refers to people
That – refers to a thing
It – refers to almost anything
Without first knowing the content your story, we have no idea to what each refers. For example, one person may write:
There were four of them. Without yet knowing the story, ask yourself: Where were they? Who were they? A better way to bring the action forward would be to say, Four of them appeared. Or get directly into the meat of your story and say, Four men dressed in black mysteriously appeared out of nowhere. You can write much more succinctly if you will use descriptive words, and not empty ones to start a story or sentence.
The Charles Dickens line: It was the best of times. It was the worst of times. I see no way to improve on that – or emulate it.
Also: It was a dark and stormy night, coined by the Victorian writer, Edward Bulwer-Lytton in his 1830 novel Paul Clifford. Surely, you wouldn’t write: A dark and stormy night had overtaken us. Or would you?
Tip #4 – The First Word of a Story
The first word of the first sentence of the first paragraph under the story title must grab attention. The first sentence must sustain the attention, and on through the first paragraph. If the first word or sentence is boring, or says nothing in particular, the readers’ expectations of a good story are killed.
What if you wrote: It was a quiet town with quiet people. Does that give you any idea at all as to what the story might be about?
You can use the word “the” to begin anywhere, but what follows “the” then becomes the attention grabber.
Here’s an example of starting with “the” from my adventure novel, The Tropics: The jagged scar on Pablo’s belly wriggled like a snake when he ran.
Here’s the attention grabber from my Egyptian fantasy, The Ka: “Witch!” Randy Osborne said as he strode around the room wearing a contemptible smirk.
And from my thriller, River Bones: Blood-red letters filled the top of the monitor screen: Serial Killer Victim Identified.
Then from my latest thriller, Down to the Needle: “The perp torched himself…”
Start your stories with words and action that pull the reader in.
Tip #5 – Use of the Passive Voice
Passive voice should be used with serious consideration as to how it affects your story.
A bad example: The house was cleaned by someone else. Here, the object of the action is the subject of the sentence.
A good example: Someone else cleaned the house. “Someone else” did the action. They should be the subject of the sentence. Ask yourself who or what is doing that action. They are the subject of the sentence, not the action.
Passive voice can best be used, and sparingly, when writing in first person. Example: I was hit by the car.
Tip #6 – A Rejection for a Comma
My publishing house editor returned my manuscript again after I made most of the changes suggested in the first edit. The editor referred me to the Chicago Manual of Style and told me to get it right.
What’s wrong with this sentence? He mumbled as if confused, tried the knob, grunted and tried again.
The Chicago Manual of style says (Page 173 of the 14th Edition):
5.57 – In a series consisting of three or more elements, the elements are separated by commas. When a conjunction joins the last two elements in a series, a comma is used before the conjunction.
Therefore the corrected sentence is: He mumbled as if confused, tried the knob, grunted, and tried again.
Did you spot the correction? Can you sense the difference as you read it?
In order to avoid rejections, the grammar in your story must conform to the rules if you know a certain publisher adheres to the Chicago Manual of Style.
Tip #7 – Avoid Splitting Infinitives
Be conscious of any form of “to be.” A great example of a split infinitive is “To boldly go where no man…” Everyone knows that line. It just doesn’t sound right to use: “To go boldly where no man…”
Look at these two:
“To be, or not to be.”
“To be, or to not be.”
Though split infinitives are a matter of style, incorrect usage at the wrong time can ruin a good story.
Tip #8 – Edit and Revise
We MUST edit and revise as many times as necessary to get it right. Otherwise, what could we expect but another rejection? Knowing if a story is right comes with experience of editing our own work as if it were someone else’s.
Once writers think their stories are finished and polished, even though they may have had a great edit, they refuse to go through another rewrite. Then, I ask, what’s the sense of having the piece edited? I edited my entire “Ka” novel manuscript – 885 manuscript pages (410 book pages) – a MINIMUM of 30 times over four years and stopped counting after that. Point is, the story had to be right before anyone other than my personal editors saw it. All of that happened before the publisher’s editor saw it. Then there were two more edits following that person’s sage advice.
Most of us writers are not English majors or PhD’s. No matter how good we believe our writing to be, editing is the only means to perfecting our craft.
In our day-to-day lives, our simplest personal actions say something about our motivations, temperament, and mind-set. Stories and their plots reveal much more that can be stated by quoting the story synopsis when a potential buyer asks, “What’s your book about?”
In my adventure/suspense novel, The Tropics, the plot is about the dangers of island living, cloaked from tourists by balmy breezes and swaying palm trees. It’s about people fighting for survival and finding inner strength to go on in spite of life-threatening situations in which they find themselves. It’s about inner strength. Read More
Our culture and habits are deeply engrained. When we writers create characters, we usually know the basics of their personalities before we begin to write. We have a feel for the type of person that would fit the plot. In fleshing out those who people our stories, we give them jobs, family, myriad habits, and quirks. We assign stations in life, perhaps borrowed from people we know, or from history itself. We are careful to make them interesting and, hopefully, memorable. Therein lays one of the pitfalls that can dull the excitement of a plot instead of helping it to sing. I found a perfect example of this in my own writing. Read More