I grew up among middle-class everyday folk. Language was one thing that separated groups of people as I had come to know them. When I was young, every once in a while I’d hear someone say, “Oh my! She talks so uppity!” Read More
Tag Archives: prose
When we writers select a topic on which to expound, chances are, we choose that topic because of its emotional impact on ourselves. We feel something strongly and want to let the world know our opinion. If we felt nothing, what’s to write?
Once the essay or story is finished and we’re feeling good about having gotten our brainstorm on paper, the next step is to decide if what we’ve written is important enough to send out to get published. Or have we simply committed a lot of weak personal opinion and gibberish to paper? Read More
MA: I am pleased to welcome today’s guest, Celia Andriello. Celia is definitely one of the more colorful authors to guest-blog with me. I will let her tell us more about her.
CA: All of my novels are based on my life experiences be it via my roots in parental abuse beyond anyone’s imagination, teaching publically and privately, building creative businesses, trafficking in various products for the benefit of mankind, providing my gift of motivational speeches to various environmental groups and “rights” movements, travel, building the first dream of microcomputers, or just sharing a war with my endearing Viet Nam survivors. Throughout my journey I have been overwhelmed with the inconsistencies of what is said and what is done. My novels are like any fiction; woven into the thread of truth.
MA: That’s quite a resume! Tell us how you began writing.
CA: It all began with “Betty Butterfly.” (Don’t laugh. It’s all true.) It was a second grade assignment that my teacher sliced and diced with her red pen. Fortunately the winds transported the prose into another teacher’s custody and I was immediately proclaimed “a singular creative writer.” I wasn’t sure what it meant, but her smile indicated that it was certainly better than the assassinating red pen.
One must grow-up, sort of, and come face-to-face with what it was that created this “gift for fiction.” There is nothing like two questionable parents to stimulate the best in their children. Therapy was my greatest teacher.
MA: Why novels?
CA: I stick to the novel format to keep from being sued. It’s as simple as that.
MA: Um, okay.
CA: All of my characters have a thread of real character in them. I have known a multitude and revere them through fiction.
MA: What genre do your write?
CA: This has been a devilish question for I really don’t know which to choose. For the sake of my sanity I have often fallen back on general fiction; but it’s more than that. Hear the Calliope: A sentimental Journey on the Earth Ride (circa 1950 – 1986) lays the foundation of betrayal; family and government, for the latter is a parental construct. Within wounds are exposed and delved into in order for the reader to comprehend the distortions in the adult character after the onslaught(s). At the same time humor is woven into the gore in order to repair the damages for the heroes to develop their own personal “more perfect union with the support of a very unique circle of friends. At the same time all previous dogma is discarded; there is no religion, there is no ethnicity, there is only human.
MA: Tell us about your heroine.
CA: Marinda is a young lady who is neither black nor white, nor does she know her ethnic background. Although she was raised Roman Catholic, she has come to understand that the teachings that she tried desperately to embrace as a child never made much sense to her even though she can recite the verse. Even her name is a misnomer. In order to restructure the world to fit her and her companions’ needs she had to be a compilation of the unknown.
Her weakness is her self-doubt created at home through an abusive life style of her parents and supported by her priest. Through her torturous childhood she has come to believe that she is incapable of being loved because she deserves only pain.
On the other hand her strength is her intelligence that takes her through med studies in conjunction with her psychiatric degree. Through her wisdom she is able to re-connect all that meets because she is able to admit that she’s struggling through her traumas as well and can share with them what she’s learned from being the innocent dupe. Likewise her soul mate, Dale, a survivor of friendly fire learns and enhances her methods with his spiritual knowledge.
Within me is housed the stories of the universe for my experiences have fanned out to touch all directions. It is impossible for me to stop writing. I have tried to not avail. I recently finished KILLER: Is Suicide Painless?
MA: Thanks, Celia for that interesting interview. Folks, visit Celia’s blog for more information about her and her writing: http://hubpages.com/hub/HAUDENOSAUNEE-my-faithful-Indian-companion
Staying in POV
Let’s say your story is being told from Sadie’s point of view. She’s your main character. As the story progresses, you have her friend approach and you write it like this:
Jeremy walked straight toward her. “Great to see you, Sadie.” His words couldn’t express what he was thinking. She had lost all that weight and bordered on having a model’s figure. Now he really wanted to bed her. He decided he’d treat her real sweet this time.
Notice that the above paragraph tells us what Jeremy is thinking. He is not the main character. Sadie is the main character. She cannot possibly know what Jeremy is thinking, so you cannot include it written that way.
You can, however, have Sadie read Jeremy’s facial expression and mannerisms and react to it from her point of view. She can show the reader what Jeremy does that will tell the reader what’s on Jeremy’s mind. What Jeremy may think and feel doesn’t have to be spelled out. It can be interpreted by the main character. Like this:
Sadie watched Jeremy walk toward her. His sauntering gait gave him enough time to notice her new figure and to feel his glands working as he eyed her from head to toe and back again. She knew him. He’d always made innuendoes about wanting to hop in bed again and renewing their sorry relationship.
“Great to see you, Sadie,” Jeremy said. His eyes had that hungry look. He always looked that way, as if sex was the only thing her image triggered in his mind. Maybe it was, but being used and cast aside was no longer part of her new image of self-respect.
Sadie stepped away when he reached for her. “Don’t try to touch me, Jerry. We washed up a long time ago and you’re still trying to own me.”
Jeremy’s expression went hollow. “You got me all wrong,” he said. The corner of his mouth twitched. That always happened when he was faced with the truth.
Staying in the POV character’s head gives you a chance to create a character with some smarts, at least, enough to intuit other characters’ actions and thoughts. It also gives you a greater chance of added detail and some interesting fleshing out of your prose that makes the action come alive. Notice that in the above short paragraphs, Jeremy actually confirms what Sadie has interpreted from him. It’s much more interesting.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
When you write your first draft, perhaps you simply write whatever comes out just to get the ideas onto the page. You know you’ll go back time and time again to get it polished just right. Maybe you polish your sentences or paragraphs before going onto the next one. Then, after all your editing, you feel something is still lacking. Maybe it’s the way you phrase the action. Maybe it’s a simple matter like your choice of words.
To help you make your prose as descriptive as possible without sounding flowery, read your composition again and look for specific words that could be replaced with descriptive VERBS that zero in on the exact action taking place.
I’m no stranger to getting the first word out that comes to mind and then needing to go back and clean up my grammar. Here are some samples from the novel I’m presently writing. I first wrote this:
Afterward, she went on her way.
If you write a sentence like this, ask yourself, How did she go? Instead of went describe her movements or gait:
Afterward, she sauntered away.
Afterward, she slipped away
Read this phrase:
Danced across the floor
Danced is a descriptive word, but it’s also a little common and could refer to many, many ways of dancing. How about…
Did a two-step across the floor
Waltzed across the floor
She felt around the floor of the car, trying to find the cell phone
Felt is also quite common.
She groped around the seat and on the floor of the car…
She slid her hand between the seats
Although a lot of emotion can be stirred just reading certain words they, too, can be made more descriptive. Replace this:
The thought of dying came to mind.
…with something like this:
The thought of bleeding to death came to mind
The thought of succumbing to coma, never to wake again, came to mind.
The above has two words to watch. We could have used:
The thought of slipping into a coma… instead, succumbing is more dramatic than gently slipping into a coma. Slipping hints at the character gently fading. Succumbing tells us she would put up a gallant fight to stay alive until, perhaps, more powerful forces overtook her. It’s more dramatic.
Here’s another sentence with two words:
The fireman holding up her head managed to get his upper body through the open windshield space.
The fireman supporting her head managed to squeeze his upper body through the open windshield space.
All of the words replaced above, and many, many more, are common words. The actions need to be exactly defined, made more exciting with better, more descriptive verbs and adverbs if your grammar is to stand out.
Your prose must sing and dance off the page. Anytime you describe what a character does, always check to see if a more descriptive word might apply. Using words that better show the exact actions that your character performs helps your reader become the character. That’s exactly what great prose does.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
MA: Julie Achterhoff was born in Michigan, but brought up mostly in the big city of San Francisco and a small island in the Gulf of Mexico. Her imagination was sparked by experiencing these different ways of life. She grew up reading very adult horror, mystery, and thriller novels passed to her by her mother. When reading she would get as excited about the writing of the books as the reading. She ended up becoming a home birth midwife with five children of her own. Still, with every book she read there was that gnawing urge to write something of her own.
Julie – welcome BACK! This is your third visit to my blog, and while I’ve had a few authors guest with me twice, you are the first with a triple visit.
My readers can go back and read the original posts Julie did with me, first on January 1, 2010, and then again on September 10, 2010.
Please remind my readers what you did before beginning your writing journey.
JA: I was a midwife raising a family for about 17 years, but when the oldest got big and responsible enough to watch the younger ones I started taking a couple classes a week at the local college. Of course I picked writing and English classes. I didn’t even dare hope to actually write anything. It was this deep, dark secret I kept even from myself! I started getting addicted when teachers and other students told me what they liked about my writing. That gave me more confidence. I suddenly realized the authors of every book I’d ever read were just regular people like me who probably started out not knowing if they could write. So I allowed my deeply buried creativity out and gave it full rein.
MA: I know you didn’t start writing novels right away, but you actually began with plays, is that right?
JA: My first major effort after some short stories and essays was actually a three-act play called Angel in the House. I really got excited about seeing my work performed. I eventually hoped against hope that I could work in the movie industry. But the structure used in plays and screenplays was very stilting for me. I had to pay so much attention to form that I felt it took away from the writing. I enjoyed just writing away without a care like I could with the short stories I’d written. I just couldn’t imagine putting enough words down to make up a whole darned book. But I decided to give it a try. I figured if others could do it, so could I.
MA: So how many books are you up to at this point?
JA: I’ve now written four books. I still can’t believe it, but I swear it’s true. I just kept writing and writing, and somehow the word count kept climbing until finally it was the end and I had a whole book in my hands. The first was Quantum Earth. It’s about a team of metaphysical scientists racing to find out why we’re having more natural disasters of a higher degree leading up to the end of the Mayan calendar in 2012, and if our own human thoughts are actually creating this reality. Deadly Lucidity is a thriller about a woman trapped in her nightmares and dreams. Then she meets someone who tries to help her find a way out of her own mind. He seems to be another part of her imagination, but he is also so real. Native Vengeance is a novella about a woman who meets a friend on the internet and eventually goes to visit her during the town’s main event of the year. Of course, this annual “event” isn’t what it seems. The town has an old Indian curse on it because of something that happened a long time ago. The new friend needs her so she can escape the evil that occurs each year to punish the residents of the town.
Then there’s my latest book, Earthwalker- Earth can be Hell for a Vampire. I’ve always loved vampires the most of any of the beasts around. Maybe that’s why it took me this long to write my own kind of story about them. Plus, I hate doing anything that’s “in.” So I figured I’d have to write the book so different and far from the main crowd that it would hardly resemble any vampire story from the past. I think I achieved this. Earthwalker is a book about a vampire. And there is a passionate love story. But from there on out it is different in almost every way from any past works of its kind. I think I was successful in finding a fresh new way of presenting it. It’s all in the writing, though, anyway, isn’t it? I mean if you like my writing, you’ll definitely like this book. It barely gives the reader a moment to take a breath. I write tight and lean. There’s not a lot of flowery prose or descriptive overload in my stuff. I think you learn a lot about yourself and your style of writing with each new attempt. I would call Earthwalker my dissertation.
MA: Are you the kind of writer who starts with a hero and then builds the story, or do you start with a plot and develop the right man or woman to fill the need?
JA: Whenever I begin writing a book I already have a pretty good idea of who the protagonist is. I have the framework in my mind and then let them develop and grow on the page. I say “let” them because that’s how it seems to happen. They become alive to me. I think that’s how I’m able to write a whole book at all. The characters kind of take over and tell me what could possibly happen to them that would be thrilling and exciting, but also believable to the reader.
MA: Can you give us an idea of one of your heroes or heroines?
JA: In Earthwalker, for example, Willa is the so-called heroine. In the beginning of the story she is pretty weak. She’s recently gone through some tough life situations and is worn out emotionally. But she’s basically a strong young woman with emotional reserves that she calls on from the beginning. She’s good at dealing with emergency situations, it doesn’t take much for her to catch on when something outside her past experience happens, and she has the capacity to be courageous if need be. She is also willing to sacrifice herself for a greater good. As most of us do, though, she tends to think of herself first. She does sense this about herself and ends up putting herself last. With Willa, it’s like she moves ahead two steps then one step back and so on.
MA: Where do you draw from to create your “bad guys?” I’m always intrigued by antagonists in supernatural stories.
JA: I’ve had pretty intense nightmares since I was very young, so I’ve got plenty of nasty people in my head. I actually tone them down for my books so they’re not totally evil. That would be boring. You’re always going to enjoy a story more when you can somehow relate to the bad guy/gal. It’s like your dirty little secret. It brings the reader in so they feel closer to the characters.
MA: I take it you’ve not had any real-life encounters with vampires or other such creatures, or have you (grinning)?
JA: Not at all. I like making it all up from scratch. You will probably never see a non-fiction book come out of me. The further away from reality the better. My writing is my escape. It takes me far away from this world. And that’s the way I like it!
MA: Okay, so four works of fiction down…how many more to go? Where are you headed in the near future?
JA: Just recently I had a very long and real feeling dream that inspired me to write another book. It’s been months since I’ve written anything, so it’s great to know I haven’t dried up in the writing department. The next one’s about a reporter out to research the latest drug craze. And boy is it a doozy! What a crazy dream that one was.
MA: I can only imagine! I’ve had a few intense dream in my life, so I can relate. Will your allow any characters from past books to tag along in future stories?
JA: I have been asked by several readers if there will be a follow-up to Quantum Earth. Unfortunately, it’s kind of a time-bound novel in that it revolves around a particular time, the year 2012. But I guess it all depends on what actually does happen in 2012 to tell you the truth. Maybe these characters will have more to say and do at that point. Who knows?
MA: Let’s hope the Mayan “prophecy” turns out to be a whole lot of nothin’! After all, the Mayans simply stopped counting days, without actually saying what would happen beyond the calendar. So much about that calendar is super-hyped. Any parting thoughts?
JA: I would just like to encourage anyone who has a desire to write not to make excuses or let your inner critic stop you from doing something that could bring you a lot of joy. Don’t let anything stop you. And don’t do it for the money or fame. Chances are that won’t happen. You just have to love it. And then just do it. Get those words down on that page! You’ve got nothing to lose and so much to gain. If you do it this way it’s gonna show in your writing. Then you’ll have something to be proud of.
MA: Thanks again, Julie, for coming back. I want to encourage my readers to check out Julie’s blog (http://earthwalker.tk) and her books’ website (http://julieachterhoff.tk).
Choosing a Subtitle
Sometimes you can conjure what you think is the best title ever for your book. No one has used that title and there is nothing close to it in all of literature. Then, after a while, you begin to wonder if your great title covers all that your book entails. You search for a new title but always return to the one you first chose. It is that good!
So you begin to wonder if you should also use a subtitle. Subtitles used to be seen as a way to enhance a weak title. However, at the writing of this article, the consensus is that if you want to utilize a great chance to tell more about your book, use a subtitle. Keep in mind, however, that some titles will never need a subtitle.
What subtitle would you add to Gone with the Wind or The Old Man and the Sea?
Peruse book selling sites and notice any recent books that have no subtitles. Notice those that do use subtitles. You will get a “feel” for when to use and when not to use.
Usually a title will tell the overall feeling or story without giving away any exact details. Using a subtitle allows you to hint at more of the detail.
Subtitles must be as short as possible. I have seen books with eight to ten words in the title alone, and then a subtitle with the same number or more words is added. This represents not only a misuse of a subtitle but shows an overall title not well thought out.
Your subtitle should give the strongest clue as to what the story is about. If you choose a subtitle because your title is not necessarily weak but is broad inclusively, then your subtitle will draw the reader in. Think of it. The title is unique and catches the reader’s attention. Then the subtitle tells more of what they can inspect of the prose. I use prose here because nonfiction, even books like cookbooks, sometimes has subtitles.
The reader will need to learn something about the book from the subtitle. Never use a subtitle with the intention of keeping the reader’s eyes glued to your cover. It doesn’t work that way. Every word must offer the reader something to learn about the book. A lackluster subtitle leaves the potential book buyer with a ho-hum feeling.
Your title can be anything from plain and simple to quirky. Whatever it represents will be enhanced and enticing through the subtitle.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre.
Fine Detail behind the Scenes
All of us perceive and interpret information predominantly in one of three different ways. They are seeing, hearing and feeling.
If you’ll notice the speech of others, three people may receive information and respond to it differently.
I see what you mean.
I hear you.
I feel I know that.
When having your story characters use any of those three verbs, it is advisable to have them stick with the same one throughout the story unless a particular situation demands else.
If your character first says, “I see what you mean,” try not to have him or her later say something like “I feel I already know that.”
When being told something, the sight-minded person will respond, “I can see that. Yes, I saw that.” They may not have actually seen the action being described but they visualize it in their mind and respond with sight-related words.
The hearing-related person perceives better through hearing, as in a lecture as opposed to quiet reading. Have you ever told a person to do something without saying why? Then that person’s response is “I hear ya’.” That person is actually telling you that he heard the unspoken meaning.
When someone feels something, they are kinesthetic. That is, they feel the effect of what is being said or shown. Whatever they perceive causes a “felt sense,” albeit known only to them at the moment, unless they say something like, “I feel you’re right about that.” Or, “I feel it in my gut.”
All of us use any of the three senses at different times, but we specifically use one most of the time. For example, I can listen to a lecture or read a text and understand, but I will better understand what is being taught if it comes with pictures and diagrams. I am visual.
If you did not realize these habits about yourself, you may be creating all your characters in your likeness. When reading your work, look for these traits in your story people. Did you use only feeling words for your characters? Or hearing words? Or seeing words? Where these characteristics are concerned, you may have passed on the predominant way you perceive the world to ALL your characters. However, all characters should be different. One may see, one may hear, one may feel.
When you establish your characters predominantly using one of these three traits, see that you carry this usage throughout the entire story. This is yet another bit of fine detail behind the scenes that helps add cohesiveness not only to your characters but to your prose as well.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre.
No one likes rejection, but rejection is just a word – a word on which too many writers place too much emphasis.
When you understand the process of submissions and rejection, that word will hurt less if at all. You’ll see it as just another step in your progress.
The process includes you wearing your fingertips down to nubs as you get your prose written. Before you send your submission, what you need to know is that many factors become involved in acceptance or rejection. Here are only a few:
1) Did you follow the Guidelines perfectly?
Every publisher has different guidelines because they all have varying publishing formats and processes, from the type of story they accept to the format in which they require you to submit. Do you know how to switch your story from a .doc (in Word) to .rtf (rich text format)?
So you have followed all the guidelines? Next…
2) Did you read a copy of the magazine or some of the publisher’s novels or books to understand the type of stories they accept?
Are you submitting blindly, thinking your plot is so good they will accept it? No matter how good your story, someone else has written a better one.
3) Another factor may be the mood of the person on the receiving end.
You have no control over that, but if your story doesn’t ring bells with a literary agent or editor, no matter how good, you’ll get a rejection. The agent or editor could have recently been slapped with a divorce suit, or suffers from PMS that day. You have no control and human frailties do play a part in the process.
4) Have you submitted your manuscript all over the place, especially when guidelines call for “no simultaneous submissions,” and irritated a bunch of professionals you had hoped to impress?
Agents and editors all know one another. They talk. They tell each other of their negative experiences. Once someone associates your name with a really negative experience – C’est la vie!
5) Did you meet the deadline?
Did you wait till the last possible moment to submit? Most editors will choose favorites from the early entries because they can’t depend on what’s coming in with the slug of last minute arrivals. That’s not to say they won’t change their minds when a late arrival is so good they feel compelled to share it.
People find themselves in a rush when they wait till the last minute to finish their manuscripts. When they do, it’s thrown together haphazardly. An agent or editor can’t be blamed for picking favorites early. I believe all stories get read, but it would be difficult to displace a favorite. Submit early. Show you are ready to do business.
These are just some of the reasons for rejection, both in your control and out. If you know the process and still feel depressed over a rejection, your issues are not with the word “rejection” but, perhaps, you feel you’re being slighted. That just isn’t so.
I keep records of all my submissions, acceptances, and rejections. You should do that from the beginning. I have so many rejections that, knowing the process, rejections bounce off. My response is, “Hmmm… didn’t fit in that agent. I’ll try this new one.” That’s all the thought I give to it. That’s if I followed all the guidelines correctly.
Agents may send rejections, but editors won’t tell you if you followed the guidelines. You’ll just get a standard rejection. Sometimes it’s a form letter on their office memo; other times they may hand write a note on your cover letter and return it. In the case of magazines, you may never hear from them again, maybe not even get a rejection, just… nothing. But times are changing.
One of my biggest lessons of rejection was that I forgot to transfer my manuscript into .rtf format. I sent it in .doc. I knew I’d not hear from that editor again. I submitted the story elsewhere and got it accepted. To this day, I have never heard from the first editor, nor will I send a follow-up email since the story was accepted elsewhere. The first magazine was my first and greatly favored choice. I paid for my mistake.