Tag Archives: show

Jul 29

Australian Author Diana Hockley Visits with Mike Angley

MA: I am pleased to have visit with me today, Australian author Diana Hockley. Diana lives in a southeast Queensland country town, surrounded by her husband, Andrew, two 19 year old cats and four pet rats. She is a dedicated reader, community volunteer, and presenter of a weekly classical program on community radio. She and her husband once owned and operated the famous Mouse Circus which travelled and performed for ten years throughout Queensland and northern New South Wales. Now that the circus is sold, she is the mouse judge for the Queensland Fancy Rat and Mouse club shows!

Diana and Andrew also bred Scottish Highland cattle. Prior to 1995, her last occupation was medical transcriptionist specializing in Radiology at a major Brisbane hospital.

They have three adult children and three grandchildren.

Diana has had articles and short stories accepted and published in a variety of magazines, among them, Mezzo Magazine USA, Honestly Woman (Australia) the Highlander, Austin Times and Austin UK, Australian Women’s Weekly, It’s A Rats World, Solaris UK, Literary Journal of University of Michigan USA, Foliate Oak, children’s website Billabong. She was awarded Scenic Rim Art Festival prizes for poetry and fiction. Since that time she has published two crime novels, The Naked Room and The Celibate Mouse.

Now, that’s one of the most diverse – and interesting – backgrounds I’ve ever seen. How did you go from the circus to novels?

DH: I wrote a novel in 1971 which was rejected but deemed “worthy of merit.” After this, I didn’t write anything more until I attended university when I was in my 30s. Raising children was a fulltime occupation for a widow, so I didn’t write anything more until 2005, by which time I was living on a small farm in rural Australia, married again and on my own a great deal in the show season. I started off with articles about our animals – always a rich source of amusement for city magazines, then ventured some short stories and had some success there as well. It was a short step to novel writing after that.

MA: Did your professional career inspire your writing? Are any of your characters based upon real-life people with whom you’ve interacted?

No, my professional life – from which I retired in 1993 – didn’t inspire my writing, but I think some of my characters couldn’t help being heavily disguised as some people I know!

MA: I won’t ask which of them resemble rats! Tell us about your stories.

DH: My debut novel, The Naked Room, fits into the crime genre, the idea for which came to me one night when I was in the studio at the radio station. What would happen if the pianist didn’t turn up for the big concert? There would have to be a very good reason why not. So I set about creating one!

MA: How did you develop your protagonist?

DH: I allowed Ally Carpenter’s character to develop in response to her abduction and the personalities of her kidnappers. I once read that you have to listen to your characters, rather than trying to force them to do what you want (within reason of course) so that is what I tried to do and it seems to have worked.

MA: Is there a hero in addition to a heroine in your story?

DH: It’s hard to say who is the hero in The Naked Room. Is it her boyfriend who takes it upon himself to investigate the crime? Is it her father who holds himself together and works on the ransom money? Or are they both the hero? My heroine’s strength is that she refuses to give in. My hero’s strengths are neither of them are about to give up searching for Ally Carpenter.

MA: I understand you have more than one antagonist in the book. Tell us about them.

DH: Oh yes, there are three bad guys and one bad woman in this – but they too have an agenda other than money.

MA: Any real life experiences that flowed over into your stories?

DH: No, not really. I psyched myself into standing behind each character, listening to them speaking and the reaction of those around them – like reading a newspaper over someone’s shoulder. And I am sure they got a bit cranky with me sometimes (chuckling).

MA: So who migrates over from The Naked Room to your other novels?

DH: I have taken the main female detective from The Naked Room and given her the starring role in The Celibate Mouse. In this novel, the reader finds out what is happening to three of the protagonists from The Naked Room. For After Ariel, my next story, I have taken one of the characters from The Naked Room and made her the character. We find out what is going on with some of the Naked Room characters who were not in Celibate Mouse (some have moved on, it’s two years later) and Susan Prescott turns up again, now an Inspector. I don’t want to over-use the same characters beyond giving continuity to the series.

MA: Any last thoughts?

DH: It’s said that you should always write what you know, so my novels will always be set in small towns/rural/Australian city/UK or Wales and they will feature people whose lifestyles I understand and whose point of view I can put across. My stories will never feature high finance, spies or sophisticated political themes because I have no knowledge of these genres. I do know, however, how people keep secrets!

I tend to write my main characters in first POV and the rest in third, with the exception of The Naked Room which is very different, darker and more violent than The Celibate Mouse.

MA: Thanks, Diana! Please visit Diana Hockley’s website for more information about her writing: http://www.dianahockley.webs.com. Read More

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Jun 22

ACTION WORDS! An Article by Mary Deal

Action Words
by
Mary Deal

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

And this:

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.

More exciting:

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

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May 04

Oh! This is a Tough Subject! “Facing Rejection,” an Article by Mary Deal

Facing Rejection
by
Mary Deal

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.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Dec 17

All the Way from the UK, Mike Angley Welcomes Author Ian Barker

MA: All the way from the UK, please help me welcome today’s guest-blogger, Ian Barker! Ian has always dabbled in writing since leaving school. However, he spent almost 20 years working in IT before he discovered that writing about computers was easier than fixing them. He is now editor of PC Utilities magazine and lives and works in Greater Manchester, UK. Fallen Star is his début novel. Tell us more about your background.
IB: I was a voracious reader as a kid and have always been interested in writing. I repressed this for quite a long time, however, and it expressed itself in the odd comic poem for birthday cards but not much else. It was only once I’d turned 40 that I started to take writing more seriously and that led me to combining career and interest and getting a job on a computer magazine. The idea of writing a novel came around the same time. Maybe it comes of a desire to leave something permanent behind.
MA: Why did you choose to write novels, and not poetry?
IB: I’m not sure you ever choose to write novels. The call of the story simply becomes too strong to resist. I’d done the usual thing of writing a semi-autobiographical first novel and consigning it to the bottom drawer. The initial idea for Fallen Star I thought might make an interesting short story but it quickly turned into something bigger.
MA: Tell us about Fallen Star.
IB: It’s about the shallowness of celebrity culture, the price of fame and how, almost inevitably, we find ourselves living in the shadow of our parents and often repeating their mistakes. It’s an adult/young adult crossover – the protagonist is 21 – and at its heart it’s a love story.
Karl has been a member of a boy band since leaving school and at 21 knows no other life. When another band member dies of a drug overdose he’s forced to readjust to real life. To further complicate things he falls in love with Lizzie, but she’s the daughter of an IRA terrorist and that makes her someone Karl’s ex-soldier father is bound to hate.
All of that might sound a bit grim but there’s a lot of comedy in the book. Although it’s been described as a modern day morality tale it doesn’t hit you over the head with a message, it’s an entertaining, fun read.
MA: Where did the idea for the story come from?
IB: Appropriately enough the idea came from watching a reality TV show. Around 2003 the BBC ran a series called Fame Academy with a group of would-be pop stars trained and forced each week to ‘sing for survival’ to stay on the show. It was around the time that digital TV began to take off and this was one of the first shows to have live ‘round the clock feeds. I started to think about what would happen if you reversed the situation – what if you removed someone’s fame when they were at their peak? The story grew from there.
The terrorism angle came later but I think it adds an extra dimension to the book and makes it more relevant to today’s world.

MA: How hard did you find it to write the two main characters?
IB: I found Karl relatively easy to write. I don’t think men ever grow up much beyond the age of eighteen anyway! It was much more difficult to get inside the head of a 25-year-old woman for Lizzie’s parts. I was constantly hounding female writer friends to read sections and tell me if they rang true.
MA: How does the hero’s develop through the book?
IB: A key part of the book is Karl’s growth as a character. At the start he’s shallow, immature and somewhat vain, the world has always come to him. That made for a tricky first few chapters as in the beginning he’s not especially likeable. As the story progresses he comes to realise that he must take responsibility for his own actions and take control of his own life. He also finds that he has more in common with his father than he ever thought possible.
MA: Does Fallen Star have its own unique bad guy?
IB: Not in the usual melodramatic sense. Patrick, the closest the book gets to a bad guy character, is dishonest rather than outright bad. He’s also a rather peripheral character. His impact is felt in its effect on other characters but he only actually appears in a few scenes.
The real villain here is the way that terrorism affects people’s lives even one generation removed.
MA: Did any of your real-life experiences influence the plot?
IB: In terms of the main plot points no, but as always there are certain incidents and conversations that are rooted in things that have happened to me or to friends. There are also the inevitable snippets of overheard conversations and such.
MA: Beyond this novel what are your future writing plans?
IB: I’m working on a sequel which picks up Fallen Star’s characters a few years on from where this book ends. I don’t see it turning into a long series, however, there probably won’t be a third book on this theme. I’d like to revisit the idea of my bottom drawer novel. I think the premise – a coming of age tale set in the mid 1970s – still works but I know that I could write it much better now. One of Fallen Star’s characters does appear as his younger self in my original version though so it wouldn’t be a complete break.
MA: Would you do it again?
Yes. Writing a novel and getting it published is a long and often frustrating experience but you only appreciate that when you’ve tried it. If I’d known at the start what I know now I might have done a few things differently but it wouldn’t have stopped me.
MA: Ian, thanks for traveling so far to visit with me today (wink). I recommend my readers check out Ian Barker’s website for more information about him and his novel: www.iandavidbarker.co.uk.
Read More

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Dec 08

“Preparing Your Manuscript for an Agent” by Mary Deal

Preparing Your Manuscript for an Agent

by

Mary Deal

Being aware of what agents look for will help you prepare the type of manuscript they will read. Keep in mind, these same rules apply once you have an agent and the manuscript is being sent out to publishing house editors.

All agents hope to find that one manuscript that is unique above all the others. It’s been said that all stories have been told. What makes them different is each individual writer’s slant on the topic, providing they have written a solid story.

When an agent begins to read, after years of experience, they are keen to grammar flaws. This is one area that could cause an agent or editor to reject a manuscript without consideration of any of its other merits.

Too, how long is your manuscript? Paper books presently should be 60,000 to 80,000 words. Anything more than that, since it’s the requirement, the agent will believe the writer too verbose, lacking control over their adjectives and adverbs and overall sentence structure.

With the advent of hand-held readers, entire books are now converted to ebooks. There may or may not be word count restrictions. Still, your story must be good to merit the higher-end costs of ebooks as well.

If the agent or editor reads on, they do so with one motivation. They need to decide if this book, when published, will sell enough to make back their commission and any advance royalty paid to the writer. And still, the book must make a profit for the publishing house beyond that point.

The agent or editor will also be judging the writer’s overall presentation. Is it neat? Was the cover letter professional? Did it follow standard form? Did the writer seem to know what he or she talked about. What they look for is how you, the writer will perform after the book is published. Are you going to be difficult to work with? Are you going to go out of your way to make this book a success? Or do you believe that’s the publisher’s duty?

Professionals know immediately if they want to spend the time to read all the way through. They are also concerned if a reader will want to spend hours with the story and author. They scrutinize to see if the writer’s descriptions are fresh and different. What the agent looks for is individual voice. It was once enough to say “the trees had greened up after the last heavy rain;” another to say “the morning sun reflected in the raindrops on the new green leaves and made the trees sparkle.” Your voice shows in how you describe scenes and action. Your description must be different than anything else you’ve read.

An agent is keenly aware whether or not they will turn from the first page to the second. Agents read thousands of stories. They know by the end of the first page if the book will stack up against others in the same genre.

Have you written characters that an agent will appreciate? Your characters must stand out from all the rest. For character development, see my articles Faces and Quirks and Character Sketches. Everyone, from agent, to editor to publisher to avid reader must like your characters. Make them likeable or make them the kind of characters we love to hate, but make them memorable.

The overall plot must be about something the characters need to attain or obtain. They must want it desperately or the reader simply will not care enough to follow the character through whatever conflict arises.

Not only in nonfiction but in fiction as well, your facts must be right. In nonfiction it can be no other way. If you wish to make your fiction true to life, which helps the reader suspend reality and keep reading, get your facts straight too.

Dialogue moves the story. It must be written in such a manner that enhances the character’s personality. Dialogue exchanges between characters must propel the story. Ordinary conversation is never written into books. It is boring and says nothing really. Consider this:

“Good morning, John.”

“Good morning, Jim. What’s on the agenda today?”

“Guess we’re supposed to take the plane out for a test run today.”

They went to leave immediately.

Or this:

“Morning, John,” Jim said, rushing in. He thumbed toward the sky. “Let’s get upstairs before the boss sees the plane still sitting on the tarmac.”

Ordinary conversation has no place in good writing. Dialogue and beats move the action. Oh yes, see my article titled Let the Dialogue Speak.

The above could easily be included in the instruction we’ve all heard: Show, Don’t Tell. Simply, what this means is that the reader must see the action happening. Dialogue promotes action. Any time the writer begins to tell what a person thinks, how they interact with others, that should raise a red flag in the writer’s mind. See the two examples above? The first version contains dead dialogue and stalls the action. The second example not only contains dialogue that moves the story, but shows us what these two people are doing. Shows, doesn’t tell.

* * *

Most of the information in this article applies to both agents and editors. You must find an agent before you can approach a publishing house editor. The agent does that for you. In rare instances I’ve heard about someone submitting directly to an editor, but it usually turns out to be a small start up publishing house. If you wish to approach the big houses, get an agent.

To help you find an agent, try the site which does not charge a fee. In my experience they have been totally reputable:

http://agentquery.com

The agents listed on this site tell you what types of manuscripts they will accept and in which genres. It’s very thorough.

http://www.writersmarket.com

These are the people who publish those real thick volumes about everything you need to know as a writer. The book is expensive. However, if you sign up for their online edition, you get new listings and updates as new information come in all year long.

You can double check the credibility of an agent or editor you wish to contact by finding them on Preditors and Editors at:

http://pred-ed.com/

Preditors and Editors tell you who is legitimate and who is a scam. Yes, there are scam artists in the writing industry. You knew that, right?

I’m sure other sites have additional information but these are great places to begin your search.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Nov 17

From Soup to Nuts…”Parts of a Story” by Mary Deal

Parts of a Story

by

Mary Deal

Parts of a story can be seen as action scenes or major scenes tied together with other action. They can also be seen simply as beginning, middle, and ending.

Tips for writing a story are many and varied. I’ve put together some suggestions that will help you analyze your own story plot. Or you may finally be able to get your story started. You’ll be writing a book before you know it!

These suggestions apply to any stories of any length. The only difference is in genre.

In fiction, you may lead your characters to do whatever the story dictates.

In nonfiction, you will have the usual beginning, middle, and ending, but you cannot manipulate occurrences since they actually happened.

Paying attention to the details given below can help you put your own story together. Other articles on this site will cover many more aspects of building a short story or novel.

The suggestions below apply to plot action and holding a reader’s interest. Building characters, a scene, or settings will be covered in other articles.

Here then, discussing parts of a story, are some valuable tips for writing a story, or for writing a book.

Beginnings

Always, that’s ALWAYS; remember to include the five senses in all parts of a story.

Most always, you will write the story from the point of view of your main character’s five senses. If any other character must say something about the heat that’s about to make them faint, this is a great way to have a person other than the main character contribute to the description of a setting.

If your reader’s five senses are stimulated, you are more likely to immerse that reader in your story.

The very first word or two should grab the reader’s attention.

In books written ages ago, it might have been okay to begin “The weather was temperate. I was feeling good.” Today, this is a waste of eight first words. Today’s readers want action or something to grab their attention to entice them to read further.

One of the most important tips for writing a story is to make sure you realize the value of your very first words. They must grab the reader’s attention.

The beginnings are the most crucial parts of a story.

All the main characters should be revealed early on.

Oftentimes, when writing a book of some length, new characters are introduced late in a story or plot. This seems only a crutch to get out of a dead-end plot situation to get the story moving again. There can be no saviors dropping into a story, only characters interacting together from near the beginning and carrying the plot toward conclusion.

In multi-genre writing, characters might pop up anywhere. Still, in order to make them credible, they must have a reason for being included.

Important characteristics of each character should be exposed.

Not important is a visual run-down of what each character may look like. Most important is to build each character’s personality.

It’s okay to state a few facts about their physical appearances, but it’s best done when describing them in action. If some information doesn’t help the reader visualize the character, or doesn’t apply to action to take place deeper in the story, leave it out.

An example: If a man never ties his shoelaces, only include something like that to emphasize his lackadaisical attitude (that you’ve already established) and if, deeper into the story, it’s what causes him to fall and break his neck. Otherwise, leave it out. Every act, every word, must have a reason for being included in parts of a story.

The main dilemma of the entire story line should be introduced in the first chapter.

Of all the parts of a story, this one is crucial.

The main dilemma can also simply be strongly hinted at as long as it’s immediately and progressively developed as the story moves along. The reader must see the succession of events moving along as it reveals more and more of the dilemma.

I don’t advise stringing the reader along. Let them know the dilemma as soon as possible. Otherwise, the reader may ask, “What’s the point.” They will put your book down and may not pick it up again.

When writing a short story, unlike writing a book, the dilemma must be revealed as soon as possible.

Almost everything in the first chapter should be considered foreshadowing.

All the plot action and character traits are set-up to propel the rest of the story. I have written a great article titled Foreshadowing, which deals with exactly that – better than I can explain here in few words.

Keep in mind that all parts of a story must lead to another, must hint at the next event. A future event should cause the reader to remember something that was said or done a few pages or chapters back.

Middles

Give your characters tough situations to face that make the readers wonder how things could possibly be resolved.

Make it seem there is no resolution. The situations are what flesh out the story.

Readers know that most situations get worse before they get better. This should determine exactly where you step into the action of the dilemma. Yes, step into it. Do not try to build the dilemma. You will be building back-story.

Have the situation already happening when your story jumps into it.

If you want to have your characters having a fun picnic in a park, and then a shooter comes along and ruins the day, that’s okay too. Just don’t waste too many words setting up how nice the day turned out to be.

Think of this example as if watching a movie. We see the family having fun in the park. We SEE everything immediately. Ten seconds after the film begins, the shooter comes along. If you think of the scene this way, you will know how quickly you must start the action in your written work. You will know how much to include in the first few sentences and how much to omit.

Thinking of your opening as a movie is good practice for including only that which applies and then getting on with your story.

Back-story is information that helps show why the characters have a dilemma.

Use back-story sparingly. Introduce it in snippets of conversation, or in your characters’ memories. Use it only if it enhances the present action. Too much back-story and the plot will stall instead of plunging your reader head first into the bramble bush.

An open ending of each chapter, known as the proverbial cliffhanger, encourages the reader to turn the page.

Another invaluable point in the parts of a story is to try to have cliffhangers at the ends of each chapter. Don’t bring all the action to a close just because the chapter is ending. The reader won’t have a reason to read further.

Leave some events open and questions unanswered. All the while, infuse that chapter with all that it can hold for that particular scene.

When writing a book, you will have many chapters in which you can build cliffhangers as well as great endings when the meanings of these are later revealed.

In various parts of a story, when developing the plot and continuing the action, what the characters experience must be a result of the plot dilemma you originally introduced.

Think about what you created. If you have someone robbing a bank, the plot dictates how these people elude the police. In the end, they are caught. A simple trail to follow only made interesting by complications you add.

Another example is if you begin your story with a seamstress sewing clothes, this could lead anywhere. However, you’ve chosen a topic that may be difficult to develop enough to hold a reader’s immediate interest. Your market for such a story would be limited.

The seamstress would then have to create some gorgeous line of clothing, maybe accidentally, that propels her to fashion design stardom. Maybe she comes in contact with the socially elite, while she, herself, lives in squalor. Think how a story like that might end. Her status is either elevated, or she remains an unknown.

Parts of a story such as this might suggest this seamstress is blind to improving her lot though she wants to. The ending must show the reader how the seamstress overlooks her chance at a better life – and is, perhaps, better for it. Or maybe she finds happiness and reason to stay in her own little world.

Endings

Endings make or break your story.

If a reader reads all the way to the ending and the ending falls flat, you will have a greatly disappointed would-be fan. That reader will not suggest her friends read the book. In fact, she may never buy another of your books.

The ending must follow the action. Only one ending would be apropos for any story, with rare exceptions.

The parts of a story must come together so that, with the climax and denouement, the reader feels a degree of satisfaction at having shared the characters lives.

Many stories have more than one ending.

More than one ending would be where the plot contains one or more subplots that, while carrying the main plot, are also nearly stories unto themselves. See my article Forensic Evidence in Plots. In the case of strong subplots, you would then have the main story ending, along with a wrap up of one or more subplots.

Ideally the subplots should wrap up before the main ending. That way, the wrap up of the subplots feed into the climax of the main story line.

When crafting the climax of any story, the actions of the characters will dictate the ending.

You’ve heard the saying “Let the story write itself,” haven’t you? Your story will write itself.

Don’t be concerned about the ending till you’ve arrived at the ending. Allow your characters to perform, to achieve greatness in their endeavors or their dastardly deeds. When you finally arrive at the ending, the characters’ actions will dictate the ending.

Then, as I always say, There is always an exception to every rule.

When I wrote my Egyptian novel, The Ka, I had the ending before I began. I also had many other scenes and knew how the story would flow. But I had to massage and manipulate the story line to arrive at the ending I could not change.

The denouement is the lesson learned after the climax has been realized.

Either or both the character and reader understand the result of the action that occurred in all the parts of a story.

For example, let’s say your character bumbles around doing bad things to people. Then he is caught in a situation where he needs help and things look pretty bleak because no one wants to help him. But someone steps forward, sees the good in the kid, and gives him a chance to turn his life around.

The climax to all this would be the kid getting help in the eleventh hour. The denouement would be the realization the kid has about how his actions hurt people and almost ruined his chance for getting help for himself. The kid’s life does a turn around and he now teaches other kids about good and evil.

The denouement is his self-realization, plus what the reader gets from it also.

Parts of a story can be developed on their own.

Often times, my mind is overflowing with the action of a scene that I write the scene without anything leading to it. Later, I go back and bring threads forward into the new action.

As long as you tie the scenes together in a cohesive manner, nothing says you can’t write the parts of a story that come into your mind in a rush. Write it! Catch that spark of creativity as it happens.

Tips for writing a story, as outlined above, are meant to help you understand the creative steps along the way to writing a book or short story; steps a writer must utilize in the beginnings, middles and endings of stories.

The parts of a story are scenes of action. Tie them together. Make one action cause another, and write it one page at a time.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Oct 20

“Character Arc” by Mary Deal

Writing a great character arc happens when using descriptive writing. Your writing objectives should include interesting story people who are never stagnant but change as the story progresses. These changes are known as the character arc.
Knowing the story you wish to write, some pre-planning is advisable. You’ve written character sketches. You’ve plotted the story line. You should be able to detect how your characters evolve as the plot proceeds. You will begin to understand the evolution story people experience as you begin to flesh out the details.
A character arc is the overall view of how a character changed from the beginning of the tale till the ending. When you read other books, try to perceive, even pin point, the evolution the main character goes through and how they end up changed at the ending. This applies to all characters, but at least your main character requires a character arc. Approach the overall view of the arc with the intention to put your story people through some experiences that will change them.
An example might be the cop who has tried for years to solve a cold case and whose efforts are pooh-poohed for trying to wring something more out of dead-end clues. The story begins with him worn out from years of stale clues and no new leads. About ready to give up like others investigators have, still he persists and then discovers something overlooked by all others. He can’t reveal his clue for fear of exposing people who could thwart his efforts. He tries desperately to solve the crime on his own.
In this scenario, the character arc begins with the cop, worn down, and ready to face the fact the case may never be solved. The arc evolves when he finds an overlooked clue. This is where the writer should employ descriptive writing to enhance what happens to change this cop. He’s found new motivation. The next step in the character arc is the determination he shows to get the crime solved. He’s got a new reason to come to work every day.
After he solves the crime, he is vindicated. He’s definitely a new man. The writer can make this new man an egocentric braggart or can make him humble yet full of self-confidence with a new respect from his fellow officers. You can write a character arc that may have the character end poorly or magnanimously, but changed. It’s all in the descriptive writing and what the writer wishes to accomplish with the story.
Another example is, perhaps, the main character is a stodgy matriarch whose control of her extended family never waivers. In the story, she believes something to be true. The story action then proceeds to show her changing her viewpoints. She becomes a better person for understanding in spite of her mistaken beliefs. Her status in the family doesn’t change. Her character arc is depicted when she changes her viewpoint and determines to be more open-minded and better informed. Her emotional or psychological growth arc becomes the character arc of the story; all the while her position in the family is maintained.
The character arc does not apply only to actions taken but to thoughts and beliefs as well, even if the character does nothing physically but stand her ground in the hierarchy.
Focusing on the character arc upholds the conflict or tension of the story overall. What the character experiences on an inner level affects them on the outer level and is what contributes to the story overall.
Know your writing objectives, or story purpose, and best define them with descriptive writing. Most character arcs are shown through emotional or psychological process, but the character changes can come about through physical actions that further show the inner workings of the character’s mind set. Read More

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Oct 06

“Talk the Talk” Sage Advice from Mary Deal

Talk the Talk

Is your dialogue authentic?

I write mysteries and watch some reality cop shows listening for police techniques and jargon. It’s a way of keeping stories in the now, exciting, up to date and understandable by readers. With an open mind and ear, you can learn how to make your characters act like the police or the perpetrator. You can learn search techniques or glitches in the schemes of wrong-doers. All of this knowledge enhances the reality of the stories you write, not just mysteries.

When writing dialogue for each character, it’s important that each person in the story have their own personality. When speaking, no two characters should sound alike. So it’s important to make a cop sound like a cop and a perpetrator like a perpetrator. It’s important t make these characters sound authentic in any story.

Especially, dialogue is critical in defining character personality. Here is a piece of dialogue I heard when watching Manhunter:

“Do you have an eyeball?”

The scene was a stakeout. Lenny DePaul, on one side of the building, was asking Roxanne Lopez at the corner of the building, if she had a clear view to the doorway where the perpetrator might appear. In another show, I heard “Do you have an eye?”

A book I recommend where you can find police jargon if you’re not into scrutinizing TV shows is Cop Speak: The Lingo of Law Enforcement and Crime, by Tom Philbin.

Here are some examples from the book that can easily be incorporated into dialogue:

Flashlight roll = A police technique of rolling a flashlight across a doorway of a dark room to illuminate the interior.

Make a canoe = Do an autopsy.

Catch a stack = To rob someone who turns out to have a lot of money.

Grounder = An easy case to prosecute; also known as a ground ball.

Mutt = Police term for a person with very poor character.

Hello phones – Telephones that informants use to reach their police contacts.

Still more of the terms and definitions in this book run from hilarious to dead serious. You can find any term explained and some mean far more than you think they do.

If you want your stories, especially mysteries to sound authentic, this book or other similar ones listing terminology and definitions will greatly enhance your writing and dialogue. Make them part of your instructional library.

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