With Nanowrimo fast approaching we've all been focusing on sketching out the core elements of our proposed novels, developing our plot, and generally just trying to figure out what to write. Everyone has their own system, from free-balling to notes on index cards. For those of you without a system, you may want to check out the You Can Write A Novel Kit from James V. Smith. This handy little box comes with a book detailing how to develop a book from conceptualization to ending and handy little sheets to help you develop major and minor characters, outline chapters, and develop scenes. The tear-sheets kind of remind me of Yatzee score cards but instead of keeping track of dice, you can hash out things like character background, relevance of a scene to the overall plot, and review chapters to make sure key revelations have been met.
The book itself is quite handy. The elements are logically delineated and information is presented so that it is both visually appealing and easy to understand and incorporate. I especially like the little chart that shows the Master Story Model. This model is good for those of you wanting to insure the right amount of action/peaks at the right places. The also make great guideposts that give your story some direction with room to evolve as characters start to muck around on their own (which mine always do).
The book closes with invaluable tips on revising to help you tighten up your novel and avoid dreadful mistakes. Each tip is itemized with easy to follow exercises so you can quickly read through and start utilizing them right away.
All-in-all, the kit is a great planning and revising tool for those looking to get a better handle on the cumbersome aspects of writing a novel. Once you get a feel for it, you can muddle with the forms and outlines to suit your personal tastes. It's not a sure fire way to develop a winning novel, but its the most compact, inclusive, and easy to use resource I have found as a new novelist. I hope it helps you out, too. Good luck with Nanowrimo!
Thursday, October 29, 2009
Tuesday, October 27, 2009
Almost time for NaNo!
I'm putting together a framework for what I want to write, not that I'll stick to it, but I find I can't begin without an idea, a glimmer, of what's going on. I know one mystery writer (and I'm sure there are others), Valerie Wolzien, who writes the whole thing, knowing her killer will reveal him/herself by the end. He/she always does, and Valerie then goes back through the manuscript making sure clues are planted. More often than not, they're already, mysteriously, there, she says. (I think that's what she says. I'm paraphrasing what I heard in a panel at Malice Domestic a few years ago. Anyway, it's close.)
Not me, though. I have to know who my killer is. Although I had a second one crop up once. A nice complication!
No matter what you're writing, if not mysteries, you're still either a person who plots beforehand, or a seat-of-the-pants writer. None of us can figure out how the other half does it! I have written into the mist and come out okay, but it's too scary for me!
And, no matter if you're a plotter or a pantser, your story still has to have the structure a reader expects. Many resources can define it for you: SAVE THE CAT by Blake Snyder, a book about screen writing that has much in it for the novelist; THE WRITER'S JOURNEY by Christopher Vogler, a book that delves into classical forms, adapted for writers from THE HERO'S JOURNEY by Joseph Campbell; HOW TO PLOT YOUR NOVEL by Allison & Busby Writer's Guides (which I've had recommended to me but don't have--Christmas hint here!); and, lastly, a terrific book I'm about half way through, WRITING TO SELL by Scott Meredith.
Alexandra Sokoloff has been blogging on plot, especially geared for NaNoWriMo, too! Check out her excellent posts at http://thedarksalon.blogspot.com/. She uses the Three Act structure used by many.
Or you can use the tried and true plotting method. Put your heroine up a tree; throw things at her; get her out of the tree. You are, of course, free to use a hero instead. Happy writing, all who are doing NaNo!
Not me, though. I have to know who my killer is. Although I had a second one crop up once. A nice complication!
No matter what you're writing, if not mysteries, you're still either a person who plots beforehand, or a seat-of-the-pants writer. None of us can figure out how the other half does it! I have written into the mist and come out okay, but it's too scary for me!
And, no matter if you're a plotter or a pantser, your story still has to have the structure a reader expects. Many resources can define it for you: SAVE THE CAT by Blake Snyder, a book about screen writing that has much in it for the novelist; THE WRITER'S JOURNEY by Christopher Vogler, a book that delves into classical forms, adapted for writers from THE HERO'S JOURNEY by Joseph Campbell; HOW TO PLOT YOUR NOVEL by Allison & Busby Writer's Guides (which I've had recommended to me but don't have--Christmas hint here!); and, lastly, a terrific book I'm about half way through, WRITING TO SELL by Scott Meredith.
Alexandra Sokoloff has been blogging on plot, especially geared for NaNoWriMo, too! Check out her excellent posts at http://thedarksalon.blogspot.com/. She uses the Three Act structure used by many.
Or you can use the tried and true plotting method. Put your heroine up a tree; throw things at her; get her out of the tree. You are, of course, free to use a hero instead. Happy writing, all who are doing NaNo!
Sunday, October 25, 2009
Self Editing for Fiction Writers
I'm sure by now that you have several writing reference books on your bookshelf. Some of my favorite are The Elements of Style and On Writing by Stephen King. From time to time I revisit these two books and find some tidbit or editing technique that I'd forgotten about.
Recently, a writer at a workshop I attended recommended Self Editing for Fiction Writers by Renni Browne and Dave King. I got a copy of the book and found it very helpful. Believe it or not, not all writers were English majors, and some people may have been snoozing in class the day the professor taught about the mechanics of writing good dialogue. If you happen to fall into this category of writing, you may want to check this book out, too.
It covers basic info like showing versus telling or creating character points of view, but I felt like the best parts were on creating proportion in your scenes. The sections on writing dialogue were interesting, too and gave me a few things to think about. The book does contain writing prompts at the end of each chapter and examples for you to read in order to test your critiquing chops, as well.
Even though your bookshelf may be weighted down with reference material already, I would recommend that you consider adding one more. Self Editing for Fiction Writers can't be any heavier than those Writer's Market books I know you have sitting there!
Recently, a writer at a workshop I attended recommended Self Editing for Fiction Writers by Renni Browne and Dave King. I got a copy of the book and found it very helpful. Believe it or not, not all writers were English majors, and some people may have been snoozing in class the day the professor taught about the mechanics of writing good dialogue. If you happen to fall into this category of writing, you may want to check this book out, too.
It covers basic info like showing versus telling or creating character points of view, but I felt like the best parts were on creating proportion in your scenes. The sections on writing dialogue were interesting, too and gave me a few things to think about. The book does contain writing prompts at the end of each chapter and examples for you to read in order to test your critiquing chops, as well.
Even though your bookshelf may be weighted down with reference material already, I would recommend that you consider adding one more. Self Editing for Fiction Writers can't be any heavier than those Writer's Market books I know you have sitting there!
Tuesday, October 20, 2009
PIONEERING: THE PP WEBCON
I'm excited about this weekend! Excited and scared. I'm participating in something very new. A web conference. I think e-conferences may have been done on a small scale, but this is the first of its kind that I know of. Poisoned Pen Press, an independent publisher of mysteries, is holding the event on Saturday the 24th. (see ppwebcon.com for lots of details)
They're doing at least some of it right, right out of the gate. The cost is $25 and you receive a voucher for $20 worth of books, so you're out a whopping net $5. Pretty nice!
What this con has that a regular one doesn't: ability to participate from anywhere you have computer access; affordability; recorded presentations that will be available for awhile after the con (not sure how long). I'm not sure if the panels will be recorded and available.
What this con doesn't have that a regular one does: a goodie bag with bookmarks and a mug or sippy cup; an afterhours bar for chatting with authors, agents, editors, and fans; opportunities for meeting random people in the hallways of the hotel.
What they both have: panels, presentations, interviews, pitch sessions, lots of authors, a green room (called coffee shop here) for chatting between events, goodies in the form of books.
Some of we participants are wading through the technology challenges, like Skype, Livestream, Blogtalk, Podbean. Okay, I still don't know what some of these are, but I don't need all of them for what I'm doing. I think I understand the ones I need. We'll see.
Anyone interested? I'm on a panel that meets at 4 PM Central Time (Hour 8 the way they're doing it), led by Kelli Stanley. Our topic is "Why We Love the Gumshoe" and the rest of the panel is dynamite: prolific short story writer, Stephen D. Rogers and novelist Ken Kuhlken.
Sign up and be part of history in the making!
They're doing at least some of it right, right out of the gate. The cost is $25 and you receive a voucher for $20 worth of books, so you're out a whopping net $5. Pretty nice!
What this con has that a regular one doesn't: ability to participate from anywhere you have computer access; affordability; recorded presentations that will be available for awhile after the con (not sure how long). I'm not sure if the panels will be recorded and available.
What this con doesn't have that a regular one does: a goodie bag with bookmarks and a mug or sippy cup; an afterhours bar for chatting with authors, agents, editors, and fans; opportunities for meeting random people in the hallways of the hotel.
What they both have: panels, presentations, interviews, pitch sessions, lots of authors, a green room (called coffee shop here) for chatting between events, goodies in the form of books.
Some of we participants are wading through the technology challenges, like Skype, Livestream, Blogtalk, Podbean. Okay, I still don't know what some of these are, but I don't need all of them for what I'm doing. I think I understand the ones I need. We'll see.
Anyone interested? I'm on a panel that meets at 4 PM Central Time (Hour 8 the way they're doing it), led by Kelli Stanley. Our topic is "Why We Love the Gumshoe" and the rest of the panel is dynamite: prolific short story writer, Stephen D. Rogers and novelist Ken Kuhlken.
Sign up and be part of history in the making!
Wednesday, October 14, 2009
What a character!
Sure, you may have a great plot idea, and you may even be a good writer, but if you have boring characters you will find your story falling flatter than my pancakes on Sunday morning. Yes, they're that bad.
Moving on..
The thing about well developed characters is that even when you run out of ideas, they'll start writing the story for you. They will create situations you never thought of, bring their own interesting dialogue, and add that all important dimension that creates a personal connection with the reader. How do you develop strong characters? Start with a character sketch. Not a physical description, but more of a personality sketch (though physical details are included). This can be a list of items, a short description, an index card of notes, but something that describes in as much detail as possible your character. When doing this ask yourself the following questions:
What is my character's greatest fear?
What is their favorite food, memory, band, color, song, activity?
Where did they grow up? What extracurricular activities did they participate in?
Who was their best friend? Why was that person their best friend?
What is their little quirk, favorite phrase, or nervous habit?
The more questions like this you can answer, the more depth your character will have. Even if you don't use all of this information in the story, it all helps develop an internal sense of who the character is and what motivates them.
The final thing to consider is what is the one thing your character would never say or do. Have it? Good. Now put them in a situation where they have to say or do that very thing. That's how your character evolves. That's what raises the stakes and makes it interesting. That's what people want in a story.
I know this seems like a lot of work, but trust me its worth it. I used to skip this step then wonder why my story would hit a brick wall half way through. Now I start with a character sketch every time and I do it for as many of the characters as I can. It's brought my stories to life, and its fun to create your own people then manipulate their lives to your liking. Ahhhh, power trip. If only it worked in other areas too.
Moving on...
So go out there and build your little brainchildren, develop interesting characters, analyze and dissect them and then put them back together. You'll see your writing become better for it. And yes, you can also enjoy the omnipotent thrill it brings.
Moving on..
The thing about well developed characters is that even when you run out of ideas, they'll start writing the story for you. They will create situations you never thought of, bring their own interesting dialogue, and add that all important dimension that creates a personal connection with the reader. How do you develop strong characters? Start with a character sketch. Not a physical description, but more of a personality sketch (though physical details are included). This can be a list of items, a short description, an index card of notes, but something that describes in as much detail as possible your character. When doing this ask yourself the following questions:
What is my character's greatest fear?
What is their favorite food, memory, band, color, song, activity?
Where did they grow up? What extracurricular activities did they participate in?
Who was their best friend? Why was that person their best friend?
What is their little quirk, favorite phrase, or nervous habit?
The more questions like this you can answer, the more depth your character will have. Even if you don't use all of this information in the story, it all helps develop an internal sense of who the character is and what motivates them.
The final thing to consider is what is the one thing your character would never say or do. Have it? Good. Now put them in a situation where they have to say or do that very thing. That's how your character evolves. That's what raises the stakes and makes it interesting. That's what people want in a story.
I know this seems like a lot of work, but trust me its worth it. I used to skip this step then wonder why my story would hit a brick wall half way through. Now I start with a character sketch every time and I do it for as many of the characters as I can. It's brought my stories to life, and its fun to create your own people then manipulate their lives to your liking. Ahhhh, power trip. If only it worked in other areas too.
Moving on...
So go out there and build your little brainchildren, develop interesting characters, analyze and dissect them and then put them back together. You'll see your writing become better for it. And yes, you can also enjoy the omnipotent thrill it brings.
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