Showing posts with label Writing Tips. Show all posts
Showing posts with label Writing Tips. Show all posts

Tuesday, June 3, 2014

How not to waste your summer. A theory.

Summer, in my mind, should be a whole lot of sunshine and sand and books and shade and a complete sense of freedom from obligation.
Of course "should be" and "reality"have very little in common. Especially not if I intend to continue, with any integrity, calling myself an author.
If I want to reach my goal of drafting a historical novel this fall, then I need to intentionally make time to research the era. I also need to continue supporting the books already written - marketing and publicizing Bird on Fire and Glitter in the Sun through blog posts and social media, while continuing to edit and improve the as yet unpublished Dictator's Daughter.
That's actually quite a lot when tasks like gardening, childcare and normal household maintenance have a tendency to expand to fill the time available. Organizing time has always been something I've struggled with. As a journalist I realized that deadlines were my best friends. Without them nothing would get done. The carrot of pay and the stick of getting fired gave them authority needed to whip my ADD into submission.
Now as a work from home homeschooling mom deadlines and organization have become more important than ever - but the carrot and stick have been weak. I'm highly motivated to make sure my boys learn things that will be of value to them in the future - but for some reason research and writing tend to rank too low on the list of things to do.
In an attempt to keep the boys on track this summer I found this really cool tool that rewards them for their weekly chores while instilling in them a need to self-motivate. I decided to do the same thing for myself.
My daily to-do list is a combination of the simple and mundane ("make bed", "feed children" - because it's important to feel accomplished) and the literary. Some days are simply "write blog", others are "research". Crap. I just realized I didn't work "editing" into the week anywhere. I've left "social media" unwritten because I'm already on Facebook all the time and Instagram frequently.
The boys have a dollar tucked behind each daily chore chart. I'm not sure that will be a big enough carrot me. I'd love to stick a fiver behind each... hmmm. Have to see if I can fit that in the budget.

Monday, May 12, 2014

Making a character

Last week we read Rebecca LuElla Miller's excellent post, Characters can be Cliches, Too.
So, now, I'm wondering, where do you get your characters from? That voice in your head, what is its genesis?
In my first novel (the one that will probably never see the light of day - except for my friends' amusement) I'll admit the main character is the woman I wish I were. She is brave, athletic, politically savvy, and powerful. Her love interest sprang out of what I imagined might be the motivation of a guy I observed at college. He was very handsome, but always sat alone. A song by the Black Keys, Broken Halo, helped flesh out his motivations.
While I would love to put myself  in a historical novel, I'm going to resist. I  need new people to play with. 
One of the coolest aspects of the novel brewing in my head is that my family lived in Northern Michigan during the era - and my great-great grandfather was the sort of guy you can't make up. If I transcribed his life no one would believe it! I'm fairly certain lumber camp foreman/riverboat captain Melancthan Dodge is going to make at least a cameo appearance.
For the rest of them I'm pondering a quote I heard recently, "what lie does your character believe that causes them to behave this way." To which I'm adding this, "what truth drives them forward anyway."
Where did your favorite characters come from? Did their development surprise you in any way? Please answer below!

Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fireare the results.
Always a writer, Jane’s “real jobs” have included newspaper journalism, youth ministry, sewing machine sales and marketing for a publishing house. Currently she is back to “just a writer” again, while juggling all the typical domestic duties of wife and mother, homeschooling two boys, managing two needy Golden Retrievers and answering to one very demanding cat.

Friday, May 9, 2014

Fiction Friday: Breaking the rules

By Merrie Destefano



There came a point in my writing career when I got frustrated with rejections. My 9-to-5 job was as a national magazine editor, so I was pretty sure I had learned how to write. Well, I knew the basics anyway. You can always learn more. But a recent rejection of one of my manuscripts stung more than I expected, especially when the acquisitions editor said the story was too internal.

That was the kind of story I liked to read, where you got deep inside a character and learned what he or she thought and felt.

I almost wanted to quit writing fiction. Instead, I decided to write one more manuscript, breaking all the rules (that I had been told) and creating my own way to tell the story. The result was AFTERLIFE—my first novel, published by Harper Voyager. Since then I’ve had reviewers call the book experimental, which it was in a way. 


I decided I would have scenes with lots of action and forward motion, but interspersed between these would be the occasional scene that was complete back story, told from one character’s point of view. These scenes allowed me to world build and to be as internal as I wanted, so it allowed me to write the story the way I wanted to.

While writing this book, I took other chances too. I had decided this would be my farewell song, my last manuscript, and so I didn’t care if anyone else liked it or not. Surprisingly, when I decided to write the book my way, breaking every rule that had bothered me, other people loved the result.

So, today I’m going to share one of those “rule-breaking” chapters from Afterlife, where I let the main character speak in his own words about the resurrection process that his family employed. In my mind, this book is science fiction, although it has been labeled urban fantasy. I hope you enjoy this snippet!


Chapter Eight



Chaz:
I was eleven years old the first time I saw a Newbie, the first time I saw life and death trade places. I guess my life had been pretty sheltered up to that point.
            A state-appointed teacher came to our Cell, wearing one of those government suits with the high collar, his breath a mixture of coffee and mint. My brother Russell and I, we sat in the back and pretended to pay attention while the guy peddled the Ideal Plan, we even made faces at each other behind his back. We only had seven kids in our Cell, but we could tell that we made him nervous. Seven kids in one room was enough to unnerve almost anyone. I’d heard of Cells with as many as 16 kids, but personally I don’t know if I really believe it.
            We each had two bodyguards inside the room, armed and able to kill with their bare hands in less than three seconds if necessary. And outside the room there were at least 15 more. A crackle of handset communications buzzed continuously between the teacher’s sentences, a hoarse whisper of monotone voices.
            “—Sadie took her medicine, yes, I will get her there in time—”
            “—piano lessons at three. Of course—”
            “—Jeffrey is listening to the teacher, Mrs. Damotta—”
            The Ideal Plan had been enforced for the past 15 years, so I had to study it just like everybody else, whether I wanted to or not. The teacher did his best to explain everything, all the way from Life Number One to Life Number Nine, covering everything from sterilization to college to the legal procedures involved in fighting a death cert case, then he gave us each a contract. My best friend, Pete Laskin, signed his that same day. I heard that his mother cried for a week when she found out, but it didn’t matter. They kept us separated from our parents for a full month, so we could think about it without their influence. Sadie Thompson, a 12-year-old, dream-come-true who barely knew my name, laughed and signed hers almost immediately, dotting the ‘i’ in her name with a heart. Russell, who was 13 and of an age to make his own decision, immediately folded his contract into quarters and handed it back. Unsigned. No thank you, Mr. Government Man. Can I go home now please?
            At eleven years old, I was the youngest in our Cell. Everyone else had to make up his mind within our month of isolation. But I had a full year to make my decision.
            So that was when Dad started taking me to work, on the pretext that it was time for me to learn about the family business. I’ll never forget that first day. Mid-October. Dry leaves whisked across the streets, crackled beneath my feet and turned to dust. The sky burned blue and bright overhead. A cool breeze poured between the buildings like fresh water, a welcome respite after the unending summer. People had been dying all over New Orleans from an abnormally long heat spell. Mostly old people, but a few babies had passed too.
            Fresh Start had been busy, everyone working double shifts. Two extra crews had been flown in from Los Angeles. I’m sure that’s why it happened. Somebody was too tired and the out-of-state crews didn’t know our procedures.
            I have to believe it was a mistake. The other possibility, that my father let it happen on purpose to teach me a lesson—well, I just can’t go for that. Russell, in one of his dark moments, said that Dad did it to show us that life is, and should be, unpredictable, that we never should have pretended to be God.
            Mom refuses to talk about it. I have to admit I admire her for not taking sides. I know she had an opinion about all of it, she always did. But for whatever reason she let Russell and me make our own decisions, about Fresh Start, about the Ideal Plan, about what happened to the Newbie on that October day.
            The inside of the plant was everything I hoped it would be. All stainless steel and molded plastic in the industrial sections; all luxurious leather and ceramic tile in the public areas. Not that anyone would want to, but you could eat your lunch on the floor anywhere in that 200,000-square-foot facility back then. It was that clean. And the smell was a bizarre mixture of dentist-office-scary and new-car-exciting.
            For years, whenever anyone found out that I was Chaz Domingue, of the Fresh Start Domingues, a hush would sweep through the room almost as if something just sucked out all the oxygen. A long quiet would follow. And then when people started to talk again they would be ever so polite, opening doors for me, asking me if I would like some candy, asking my opinion about the weather. I liked the attention at first, but by the time I was a teenager I realized it was based on a combination of fear and envy. So I quit telling people my last name. Sometimes I pretended to be someone else entirely. When I got older I even pretended to be a Stringer, just because I wanted to fit in.
            But on that October afternoon, when the sunlight was slicing through the warehouse at a steep angle, when the sounds of the city seemed muted because so many people had died, on that day I decided that I never wanted to jump. No matter how much I wanted to be like other people. No matter how much I wanted to live.
            That day, one of the Newbies got stuck in between lives. In some nether world, where dark swirling creatures spin traps like spiders. She got caught. Her old body, withered and white with decay, lay discarded on the other side of the frost-etched glass. Her new-cloned body, as beautiful as Eve herself, lay expectant on a metal gurney, modestly covered in white linen. Neither body breathed, neither had life. All the equipment was suspiciously silent, no beeps to register heartbeat or brainwave patterns. Too much time had passed. The technicians began to get nervous, but Dad just raised one hand to quiet them.
            “Give her a minute,” he said, a tone of assurance in his voice.
            But several more minutes passed and the clone continued to stare, sightless, at the ceiling.
            And then, like it was straight out of a nightmare, she started to talk. The machines refused to admit there was life in either body, yet some alien consciousness caused the clone’s mouth to move and a hollow voice to speak.
            The things she said have haunted my dreams, might just follow me all the way past Judgment Day into the great beyond. Might bring torment with me, like shackles, into God’s kingdom, whether he likes it or not.
            “I can’t ... I can’t break free,” she said, still staring up at the concourse of pipes and ducts that traversed the warehouse ceiling. “I’m tangled in something. It feels like a web.” Tears streaked her face. Slow, glycerin-like streams. “They’ve been chasing me and I’m so tired of running, of trying to hide. Oh, please get me out of here! I don’t know where I am. There’s no light, just a dark glowing horizon, like fire in the distance. And these creatures—” She moaned, a heartbreaking cry, long and low and inhuman. I found myself wondering if we were really listening to a woman or if some spirit from beyond had commanded an audience. “They’re like spiders, but much bigger. I saw one of them eat a man. It ripped his head right off.” Her eyes closed.
            Meanwhile, my father ran around the room, fiddling with dials, gesturing to the other workers to try and save her.
            “It’s so dark. So cold,” she whispered, her voice hoarse. “And I’m so alone.”
            Most of them stood frozen, like me. Listening.
            Then she turned toward one of them, looked right at him. Allen was his name. She reached one arm out, then shrieked. And she was gone.
            To this day I still imagine her trapped in a twilight world, waiting for someone to rescue her. But I know now that no one ever will. God wouldn’t have left her there if she were one of His. Even if we had messed with His plan, with His order laid down from the beginning, He still wouldn’t have abandoned one of His chosen.
            That’s the only way I can rationalize all of it.



Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), FathomThe Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.

Tuesday, May 6, 2014

Author Wayne Thomas Batson unveils his new series and reveals his writing secrets

By Merrie Destefano



Have you ever wished you could ask one of your favorite authors to reveal some of their writing tips? If so, today’s your lucky day! 

We’ve got an interview with Wayne Thomas Batson, best-selling author of the Door Within trilogy, Isle of Swords, Isle of Fire, The Berinfell Prophecies, Sword in the Stars, The Errant King, and Ghost.

Today also happens to be the release day of DREAMTREADERS, the first book in his new series. One of the things we’re requesting is if you want to purchase his book, please consider buying it today on Amazon.

Here’s some info from Wayne about The Blitz, a contest he’s running on his blog here: www.enterthedoorwithin.blogspot.com.
 
Here's the Amazon link for Dreamtreaders: http://is.gd/gONxPf



And now, for that author interview, where Wayne accidentally…I mean, on purpose…reveals all his writing secrets including how he came up with the concept for his new series, PLUS tips for writing Middle Grade stories.

RSM: I love the concept for Dreamtreaders! I also read the sample chapters online and it looks fantastic. How did you come up with the idea for this series and how long did it take you to write the first book?

WAYNE: Thank you kindly, Merrie. I’m thrilled that you enjoyed the sample chapter. The idea for the Dreamtreaders Series came from a little video I happened upon while surfing. The subject was Dream Science. I’ve always had vivid dreams, so I thought the video was pretty compelling. I had heard of Lucid Dreaming before, but not with the kind of detail presented in the video. Within minutes of watching the video, the entire plot of Dreamtreaders Book 1 popped into my head. I started thinking: What if there was a greater purpose for dreams? What if there was more danger involved with dreams than we ever thought possible? It was really kind of on a whim that I wrote up a brief proposal. I really didn’t think anything would come off it, but Thomas Nelson / Harper Collins loved the concept right away.

The first book took me about 3 months to write. I already had an outline, so I shot through pretty quickly. Thankfully, I had great editors like Steele Filipek and Amy Kerr to help me bring the story up to its full potential.


RSM: What do you think is the difference between writing for a Middle Grade audience, versus either a Young Adult or an Adult audience? What tips would you recommend for our blog readers who want to write for Middle Grade?

WAYNE: For me, there’s not much difference between Middle Grade / Young Adult readers. You can’t underestimate either. Kids are incredibly perceptive. You really need to honor that in your stories. Writing for adults is a whole different ballgame. Adults like the thrills, adventure, and creativity just as much as YA readers, but adults demand a level of sophistication that is different. You need to weave in layers of inference so that adults can figure things out on their own. You need to be more subtle too. If you have themes you are interested in, go for it, but hint at it, don’t drown them. 

Tips for Middle Grade Readers:

1) Make sure you HOOK them early. I mean first sentence, first paragraph, first page, first chapter. Make sure you have some very cool unusual events going on right away. While kids are perceptive, they also are kind of quick to assess the interest level of the material. If it’s a yawner up front, they will drop it like rotten tuna sandwich.

2) Don’t forget the power of humor. Middle Grade books can be so heavy handed. Dogs dying, people getting diseases, concentration camps, government takeovers, dystopia! EEK, run! You’ve got to lighten up here and there. I teach middle school, and my students literally ask me sometimes: “Why are these books so depressing?” Not my books, mind. I always lighten the mood with humor. It really helps.

RSM: Those are great tips! Thanks, Wayne. I’ve always found outlining for one book hard enough. How do you outline for a series?

WAYNE: When outlining for a series, you need to use broad strokes. In other words, capture the headlines of each book. What are the major things you expect to happen in each book? How can you have a beginning, middle, and legit end for each story while maintaining a “greater story” for the series? Once you have the broad strokes, you can then paint in the details when you approach each book for a manuscript pass.

RSM: I think it's great that you're working with Thomas Nelson again, this time on the Dreamtreaders series—TN is an amazing publishing house! But I've noticed you also have some self-published projects. Some are short stories, like The Blackwood, and some are full length novels, like The Tide of Unmaking (co-authored by Christopher Hopper) and Ghost. How and when do you decide to self-publish projects?

WAYNE: There are several variables that I consider to determine the direction of publishing: traditional path or self publishing. 1) Is there publisher interest?  2) If yes, then what are the terms? Is the royalty /advance good enough?  3) Is the concept I have in mind appropriate for one of the publisher’s age categories?

If all the answers to the above are yes, then I might go traditional. If any of the answers are no, then I’ll likely self pub. Another deal breaker with traditional publishing is creative control. If the publisher won’t allow me to take the story where it needs to go, then I might do it myself. My Dark Sea series, for example, deals with themes TN didn’t want to touch, so I went somewhere else.  Then, the market changed and ebooks put such a dent in print sales that I ended up getting back the rights. I plan to completely repackage and self-publish the seven book Dark Sea Annals series.

I like to keep a foot in every market possible. Diversification isn’t just for stock portfolios. Print publishers still rule a huge market. Why not be a part of it? 

RSM: I completely agree about diversification. In fact, most authors I know are doing both traditional and self-publishing. Is Spearhead Books your own imprint? Can you tell me a little about the decision to create that publishing company and what your goals are?

WAYNE: Spearhead Books is a joint project from The Miller Brothers, Christopher Hopper, and me. We aren’t a publisher per se, but we are creating a brand for Christian readers to be able to trust. With self-publishing growing like it is, we wanted to create a one-stop shop for trustworthy, positive fiction. 

RSM: It sounds like an awesome joint project and our blog readers can check out Spearhead Books HERE. You have an impressive selection of books! Thank you very much for answering all of my questions, Wayne! 

WAYNE: You’re welcome. Always good to connect, Merrie. Thank you for the opportunity.

If you want to learn more about Wayne’s books, check out: Enter The Door Within, Heed the Prophecies, and Sword in the Stars.



Monday, April 21, 2014

Research... but, how?

So there’s been this story rattling around in my brain for a couple years now, but I haven’t known how to even begin. I've wavered between casting it as a proper historical drama or a more fanciful steampunk tale – the problem with starting is that either way I had no idea where to begin all the research this particular story requires.

Until I read this lovely post by Michelle Ule and her extremely helpful step-by-step research process on the Books & Such Literary Management blog.

In summary, Michelle recommends:
  1. Start with the synopsis. How else will you know what to research?
  2. Read everything!
  3. Google, Google, Google. Fact check, fact check, fact check.
  4. Join online interest groups.
  5. Save interesting documents. She emails interesting documents to herself and stores them in a labeled email folder for easy future reference.
  6. Yay! Pinterest!
  7. Yay! Movies!
  8. Yay! Travel!
  9. Talk to everyone, you never know who will have fascinating input.
Now the story in my head has moved from rattling to clamoring, the characters moving from mere shadows to almost substantial ghosts.

I’m excited to learn who they are, what they wear, how they speak - and whether or not they'll submit to the indignities of dirigible travel over Lake Erie.

What are your favorite research techniques? Do you write first, research later? What are your favorite go-to sources?

Jane Wells has always gravitated toward reading material that pushed other people’s buttons. In 2nd grade it was a dinosaur book that upset her teacher at a Baptist school. Now it’s vampires and dystopias that catch her imagination. In them she finds parables and allegories illustrating God’s ancient plan in a language that is uniquely modern – and easily understood by people who may have never set foot inside a church. Glitter in the Sun and Bird on Fire are the results.
Always a writer, Jane’s “real jobs” have included newspaper journalism, youth ministry, sewing machine sales and marketing for a publishing house. Currently she is back to “just a writer” again, while juggling all the typical domestic duties of wife and mother, homeschooling two boys, managing two needy Golden Retrievers and answering to one very demanding cat.

Monday, April 14, 2014

Why do some people like to read scary stories?

By Merrie Destefano



The sun goes down, the sounds of the city grow quiet, and the rest of the family nestles, safe and sound in a world of incandescent light. Meanwhile, one person huddles alone in a darkened room, face turned toward a screen, eerie blue light carving shadows on her face while her fingers slowly tap out a message, letter by letter. 

A writer is writing.

October winds blow outside her window, leaves gather in shadowed corners of the yard and nearby trees sway, branches creaking.

The writer is writing a scary story.

Why do some writers always return to the dark side of literature, spinning out tales that make readers sit on the edge of their seat? Perhaps an even better question, and one that I’d like to discuss here, is why do some people love to read scary stories? 



While, I can’t answer this question definitively, I can offer some suggestions.

1. ADRENALINE RUSH: This is my favorite answer, although many of the others are just as good. We read scary stories so we can experience artificial situations of “fight or flight.” These scenarios, whether real or imagined, get your body ready for action by giving you an extra dose of adrenaline. Your heart beat speeds up, your breathing increases and your blood pressure increases—in other words, it’s like an instant dose of caffeine combined with heavy exercise. You’re ready to leap over tall buildings in a single bound, although you may be screaming “Mommy!” all the way.

2. FAMILIARITY: You’ve been here before and you liked it. You’ve been reading scary stories for years, you have a list of favorite authors and you’re waiting in line, with sweaty palms, when his/her next book releases. You stay up late (reading these stories is always better at midnight, right?), turning pages while everyone else is asleep. But the truth of the matter is you can’t sleep, can you? Not until you know what happens next…

3. A VISCERAL REACTION: The desire to feel something strongly—no matter what the emotion is—can drive readers to these books. Detailed descriptions of eviscerated body parts in zombie stories may not get you excited, but there are plenty of readers out there who live for this stuff.

4. TO FEEL ALIVE: Similar to the answer above, books that put you on the edge remind you that you are alive. You’re not watching some soap opera at lunch time; you’re hunched over a novel wondering if the heroine is really strong and smart enough to survive that demon horde that’s been chasing her for the last twenty pages.

5. TO CONQUER THE DEMONS: We all have our demons, things we’re afraid of but don’t want to admit. Things like clowns (It), menacing dolls (Chucky), the end of the world (The Stand), rampant pestilence (Contagion), rabid dogs (Cujo), vampires (Interview with a Vampire) and serial killers (Darkly Dreaming Dexter). By vicariously facing your fears in a novel, you’re able to tame them, or at least, imagine that you’ve tamed them. Until they show up the next night, waiting for you in the closet.

6. TO EXPLORE THE UNKNOWN: There are boundless supernatural realms, where wonder and horror walk side by side—realms where people rise from the dead or where someone learns the future in their dreams or where someone is giving an extraordinary power. There’s just enough enchantment and mystery to make you want to know more, and just enough danger to make you glad this is fiction.

7. TO FEEL STRONG EMOTIONS: Anger—hatred—fear—love—surprise—terror—repulsion—empathy…Scary stories have all these emotions and more trapped between the pages, just waiting for an innocent reader to come along and release them. Before you know it, you’re experiencing the same emotions. Again, this is similar to Number Three, but I felt that it needed to stated again. (It is my list, no?)

8. TO PROVE WE CAN SURVIVE: Isn’t that what it’s all about? You’re secretly taking notes, so if X, Y or Z ever really happens, you’re ready. Doesn’t everyone know what to do in a zombie/alien apocalypse by now? And if so, why? Because you’ve all been making a list and checking it twice while watching The Walking Dead or Falling Skies.

9. SATISFACTION WHEN TERROR IS OVERCOME:There’s an unbelievably sweet moment when the heroine finally plunges a stake through the heart of the last vampire—almost instantly, your muscles relax, you slump backward in your chair and then breathe a well-deserved long sigh because, without realizing it, you’ve been holding your breath and sitting on the edge of your seat, ready to run.

10. TO PROVE THAT DRAGONS NOT ONLY EXIST, BUT THAT THEY CAN BE DEFEATED: What? Scary stories can give you hope? To quote someone more knowledgeable on this subject than me: “Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”―G.K. Chesterton. Watching a character deal with the monster in the closet can give you the courage to face up to your own monsters. Yes, tales of terror can actually be uplifting, when written with that purpose in mind.

Which of these categories do you think you fall into? And what book did read recently that made you feel this way?








Merrie Destefano is represented by Natalie Lakosil of the Bradford Literary Agency. Merrie’s published work includes Afterlife and Feast (both with HarperVoyager), FathomThe Plague Carrier and Waiting For Midnight (with Ruby Slippers Press), and How To Draw Zombies (Walter Foster). She’s also the editor of Victorian Homes magazine and founding editor of Cottages and Bungalows magazine. She is the founder and owner of Ruby Slippers Media and Ruby Slippers Press, and her website is here.