The first 100 words of your book are some of the most important words you will write. Those words should grab your reader and make them want to read more. According to The Writers Little Helper, the first 100 words set the tone, establish a point of view, set the scene and should smack the reader between the eyes with an element of "Oh wow!" I love to wander through bookstores grabbing books at random reading first paragraphs.
The Writers Little Helper list's great examples of opening scenes. I thought I'd share a few with you.
I didn't see him at first, I smelled him though... John Grisham' s The Street Lawyer
When I was little I wuld think of ways to kill my daddy. Kaye Gibbons book Ellen Foster
....much as I loved my son, I was glad to see him dissapear. Terry McMillan's How Stella Got Her Grove Back
What are some of your favorite openers?
Monday, July 30, 2007
Sunday, July 29, 2007
Word Painting
Since I'm pressed for time and falling behind, my post is about a book I read last year...Word Painting: A Guide to Writing More Descriptively by Rebecca McClanahan. I only finished part of the book, so I'm re-reading in anticipation of an upcoming project.
McClanahan advises going beyond the labeling prevalent in fiction. By labeling, she means those conventional terms we use to describe something. Such as lovely, gross, sweet, inspiring, depressing, etc. Those are conclusions. Don't do them. Approach description from the backend, first. Why is the object lovely? Gross? Sweet? Doing it this way is sure to help the writer avoid cliches, and come up with a vivid and original description.
In a very hippie kind of way, she suggests really looking at an object and letting it speak to you, whispering it attributes. So, I'm sitting in La Madeleine, reading this book, drinking French roast coffee with half and half. I tried to eat part of a spinach quiche, but all that crust was gross. (No, I'm not being overly descriptive here. You wouldn't want me to).
Okay. I decide to give it a try. For real. I look at the vase on the perfectly square table. It has two carnations. One red. One white. And some baby's breath. Here's what I wrote:
The white carnation has stiff white peaks much like beaten egg whites. It is surrounded by baby's breath that reminds me of a cluster of bright white stars on a cold winter's night. The carnation stem is a deep green, folding and rolling in on itself like carefully wrapped tissue paper.
Not great, but not horrid either. I think I see where the author is going with this and I think I can roll with it.
Try it! And leave a description of something on your desk...like say, your mouse!
Tear shaped and metallic blue with rubber bumpers, the Dynex mouse slid across the pad without the aid of the typical track ball.
McClanahan advises going beyond the labeling prevalent in fiction. By labeling, she means those conventional terms we use to describe something. Such as lovely, gross, sweet, inspiring, depressing, etc. Those are conclusions. Don't do them. Approach description from the backend, first. Why is the object lovely? Gross? Sweet? Doing it this way is sure to help the writer avoid cliches, and come up with a vivid and original description.
In a very hippie kind of way, she suggests really looking at an object and letting it speak to you, whispering it attributes. So, I'm sitting in La Madeleine, reading this book, drinking French roast coffee with half and half. I tried to eat part of a spinach quiche, but all that crust was gross. (No, I'm not being overly descriptive here. You wouldn't want me to).
Okay. I decide to give it a try. For real. I look at the vase on the perfectly square table. It has two carnations. One red. One white. And some baby's breath. Here's what I wrote:
The white carnation has stiff white peaks much like beaten egg whites. It is surrounded by baby's breath that reminds me of a cluster of bright white stars on a cold winter's night. The carnation stem is a deep green, folding and rolling in on itself like carefully wrapped tissue paper.
Not great, but not horrid either. I think I see where the author is going with this and I think I can roll with it.
Try it! And leave a description of something on your desk...like say, your mouse!
Tear shaped and metallic blue with rubber bumpers, the Dynex mouse slid across the pad without the aid of the typical track ball.
Saturday, July 28, 2007
Can You Juggle? Better Learn If You're Tackling Subplots
Managing subplots is not easy. How many times have yours succumbed to a slow, quiet death? Taken over because the secondary characters became more riveting than the main characters? Do they follow the same rules of plotting as the primary plot?
At the recent RWA National Convention in Dallas, Rita-winner Alesia Holliday, who also writes as Alyssa Day, tackled some of the challenges facing writers, both plotters and pantsers, when juggling these mini-stories tucked inside our novels. The highlights:
1) Her golden rule: If a subplot scene doesn't deepen characterization or advance plot, cut it. Subplots can either support or antagonize the main plot, but they must have a purpose beyond trying to stretch word length. Make sure your conflict is as strong in the subplot as it is in the main plot.
2) When considering a Tertiary Plot (or 2nd subplot) consider the length and complexity of the main plot and 1st subplot. Will your main characters become lost? Are the characters populating your story so many that you've created "cardboard cutouts" instead of true, developed identities?
3) To determine how much subplot is too much, base the length on its impact to the story. Try ranking subplots in order to determine when to begin and end them and how many pages to devote. As a general guideline, all subplots together should be no more than half the length of your main plot.
4) Seasoned writers know the subplot must be resolved before the main plot, but options are not limited to the HEA ending found in the primary plot of novels in the romance genre. Subplots that show character growth can be equally satisfying emotionally. And what about a series book? What better way to leave your readers wanting more than to leave a few strands unresolved? One great tip is to make secondary characters with a point of view in your subplot become the hero/heroine of the next book.
5) When you feel your subplot is off balance, try:
*highlighting your manuscript using a distinct color for the subplot. Pluck those pages from the main stack and read through only that color for continuity.
*listing all scenes involved in your subplot. Sometimes seeing the scenes in a numerical context can let you know the ratio of the subplot to the main in terms of space.
*using spreadsheets, index cards, storyboards--anything you can to keep track of subplots. The writing-by-the-seat "pantsers" who cringe at the thought of organized writing can make use of these on the back end, once the first draft is written, to see the subplot's overall picture.
Lastly, if you're planning overarching series plots, keep volumes of notebooks at the beginning. It's far easier to plan subplots at this stage than to write yourself into an impossible corner when editors and readers come clamoring back wanting more.
Visit Alesia's website or online journal to find out more about her upcoming books.
How do you manage subplots?
At the recent RWA National Convention in Dallas, Rita-winner Alesia Holliday, who also writes as Alyssa Day, tackled some of the challenges facing writers, both plotters and pantsers, when juggling these mini-stories tucked inside our novels. The highlights:
1) Her golden rule: If a subplot scene doesn't deepen characterization or advance plot, cut it. Subplots can either support or antagonize the main plot, but they must have a purpose beyond trying to stretch word length. Make sure your conflict is as strong in the subplot as it is in the main plot.
2) When considering a Tertiary Plot (or 2nd subplot) consider the length and complexity of the main plot and 1st subplot. Will your main characters become lost? Are the characters populating your story so many that you've created "cardboard cutouts" instead of true, developed identities?
3) To determine how much subplot is too much, base the length on its impact to the story. Try ranking subplots in order to determine when to begin and end them and how many pages to devote. As a general guideline, all subplots together should be no more than half the length of your main plot.
4) Seasoned writers know the subplot must be resolved before the main plot, but options are not limited to the HEA ending found in the primary plot of novels in the romance genre. Subplots that show character growth can be equally satisfying emotionally. And what about a series book? What better way to leave your readers wanting more than to leave a few strands unresolved? One great tip is to make secondary characters with a point of view in your subplot become the hero/heroine of the next book.
5) When you feel your subplot is off balance, try:
*highlighting your manuscript using a distinct color for the subplot. Pluck those pages from the main stack and read through only that color for continuity.
*listing all scenes involved in your subplot. Sometimes seeing the scenes in a numerical context can let you know the ratio of the subplot to the main in terms of space.
*using spreadsheets, index cards, storyboards--anything you can to keep track of subplots. The writing-by-the-seat "pantsers" who cringe at the thought of organized writing can make use of these on the back end, once the first draft is written, to see the subplot's overall picture.
Lastly, if you're planning overarching series plots, keep volumes of notebooks at the beginning. It's far easier to plan subplots at this stage than to write yourself into an impossible corner when editors and readers come clamoring back wanting more.
Visit Alesia's website or online journal to find out more about her upcoming books.
How do you manage subplots?
Friday, July 27, 2007
Networking beyond conference . . .
National conference was an exciting, learning, meet with editors/agents, and network with fellow writers time. Back home, the exulted high has finally passed; the real world has seeped in, so now what?
It’s time to network beyond conference.
Most pre-published writers bring business cards and established writers hand out their latest advertising bookmarks during conference. Are those laminated strips of paper simply more stuff to file away? Or something potentially useful?
Before you clear your desk or empty your conference bag into the nearest trash bin, take a closer look at those contacts.
While waiting for coffee or a pick-me-up soda, how many writers did you meet in the endless lines? Did you exchange cards? Bookmarks? Who sat at your lunch table? Cards exchanged? What about during those great seminars? Did you visit with the speaker for a moment? Introduce yourself to the moderator? All of these are contacts—important contacts to help further your career and can become a personal extended research group.
Pull out your stash of business cards, bookmarks, and conference booklet. Now’s the time to send a quick email. A few typed lines and you’ve established a new contact. The person on the other end of the email may become simply another writing ‘buddy’, and that in and of itself is a prized possession. Writing is a lonely job and only those who continually plant fanny to chair can understand the trials of this profession. Treasure writing contacts, and nurture them. Perhaps, your email will establish a relationship with a published writer, one who writes in your genre or a genre you’d like to try. Now, you’re network building. Who better to ask about market trends, publishing houses, successes with an agent than an individual already earning a living in the business? If a seminar was helpful, on-target, just ever-so-much fun, then send that speaker an email and let them know. To a person, conference speakers juggle already-full career schedules. They’ve put in effort and taken their time to provide a worthy learning environment. Everyone deserves a thank-you or job-well-done for their deeds. And again, smart networking writer that you are, you’re developing more contacts.
Wait!
Before you send those emails make sure your signature line is completely up-to-date. Do you have a website? MySpace? Blog Site? Are you a chapter officer? National officer? Do you have a new release? An upcoming release? Make sure all pertinent information is captured in your email signature. What’s pertinent? Anything and everything that advertises your seriousness about the business of writing.
Once the emails are winging their way through cyberspace, take a moment to jot a note on the back of the business cards—a reminder where and when you met this writing contact, then start a file. You’ve just began your mailing list for your first book release or your next release. Networking beyond conference is an opportunity to build new friendship and establish great contacts. It’s also a wonderful chance to spend a little more time with the folks who really ‘get’ your obsession with the writing world. Value your contacts.
It’s time to network beyond conference.
Most pre-published writers bring business cards and established writers hand out their latest advertising bookmarks during conference. Are those laminated strips of paper simply more stuff to file away? Or something potentially useful?
Before you clear your desk or empty your conference bag into the nearest trash bin, take a closer look at those contacts.
While waiting for coffee or a pick-me-up soda, how many writers did you meet in the endless lines? Did you exchange cards? Bookmarks? Who sat at your lunch table? Cards exchanged? What about during those great seminars? Did you visit with the speaker for a moment? Introduce yourself to the moderator? All of these are contacts—important contacts to help further your career and can become a personal extended research group.
Pull out your stash of business cards, bookmarks, and conference booklet. Now’s the time to send a quick email. A few typed lines and you’ve established a new contact. The person on the other end of the email may become simply another writing ‘buddy’, and that in and of itself is a prized possession. Writing is a lonely job and only those who continually plant fanny to chair can understand the trials of this profession. Treasure writing contacts, and nurture them. Perhaps, your email will establish a relationship with a published writer, one who writes in your genre or a genre you’d like to try. Now, you’re network building. Who better to ask about market trends, publishing houses, successes with an agent than an individual already earning a living in the business? If a seminar was helpful, on-target, just ever-so-much fun, then send that speaker an email and let them know. To a person, conference speakers juggle already-full career schedules. They’ve put in effort and taken their time to provide a worthy learning environment. Everyone deserves a thank-you or job-well-done for their deeds. And again, smart networking writer that you are, you’re developing more contacts.
Wait!
Before you send those emails make sure your signature line is completely up-to-date. Do you have a website? MySpace? Blog Site? Are you a chapter officer? National officer? Do you have a new release? An upcoming release? Make sure all pertinent information is captured in your email signature. What’s pertinent? Anything and everything that advertises your seriousness about the business of writing.
Once the emails are winging their way through cyberspace, take a moment to jot a note on the back of the business cards—a reminder where and when you met this writing contact, then start a file. You’ve just began your mailing list for your first book release or your next release. Networking beyond conference is an opportunity to build new friendship and establish great contacts. It’s also a wonderful chance to spend a little more time with the folks who really ‘get’ your obsession with the writing world. Value your contacts.
Wednesday, July 25, 2007
Revisions
My day to sparkle blog. :) I've been thinking about it all day, wondering what subject to take on. I've been deep in revisions for a while now. Determined to whip my three most marketable manuscripts into shape. I've reworked #1, a 60k romcom. It's circulating. I'm hitting #2, which is an unweildy beast of 100k. Making notes for #3.
Then it hit me. REVISIONS!! Duh. (Talk about writing what you know . . .)
I love it that Romance Writers of America offers a PRO status to every writer who's finished their first book and submitted it to an agent or editor. That's great. Really. But the magic doesn't happen until the revisions. Some manuscripts need more than others, as I'm finding out.
#2 has gone through a series of revisions. And I've asked myself: How many? The answer is: As many as it takes.
I'm past the "typo" and "bad grammar/sentence structure" phase. I've moved on to bigger issues like: does this plot thread serve the greater story question? Is this character's action fully motivated? Is this dialogue strong enough to be "tagless"? Do the plot lines intersect at the right place? Have I chosen the right word to convey tone? Have I made this book stand out? Does it have "sparkle"?
Tough questions, I know. But if I don't have the answer who does?
Each time I think the ms is clean and ready to hit the door, I print it out to take a continuity read. If I can revise on the page then I know I have to sit back down and do some work.
On the converse, I am so relieved and overjoyed when I can get through entire chunks of pages/chapters without changing or modifying a single word.
This is the real "writers life". If it doesn't sound appealing then don't jump in. On the other hand, if you're like me, revel in the puzzlemania of the story and the process as a whole, this is the career for you!
The best way I know how to take on revisions is one sentence at a time. Sorry, that's the answer(for now). If you have a better method, please shoot me an email. (please!).
Remember, writing that first draft is its own reward. But the magic happens in the revisions. :)
Happy Writing(and Revising)
Sherry
Then it hit me. REVISIONS!! Duh. (Talk about writing what you know . . .)
I love it that Romance Writers of America offers a PRO status to every writer who's finished their first book and submitted it to an agent or editor. That's great. Really. But the magic doesn't happen until the revisions. Some manuscripts need more than others, as I'm finding out.
#2 has gone through a series of revisions. And I've asked myself: How many? The answer is: As many as it takes.
I'm past the "typo" and "bad grammar/sentence structure" phase. I've moved on to bigger issues like: does this plot thread serve the greater story question? Is this character's action fully motivated? Is this dialogue strong enough to be "tagless"? Do the plot lines intersect at the right place? Have I chosen the right word to convey tone? Have I made this book stand out? Does it have "sparkle"?
Tough questions, I know. But if I don't have the answer who does?
Each time I think the ms is clean and ready to hit the door, I print it out to take a continuity read. If I can revise on the page then I know I have to sit back down and do some work.
On the converse, I am so relieved and overjoyed when I can get through entire chunks of pages/chapters without changing or modifying a single word.
This is the real "writers life". If it doesn't sound appealing then don't jump in. On the other hand, if you're like me, revel in the puzzlemania of the story and the process as a whole, this is the career for you!
The best way I know how to take on revisions is one sentence at a time. Sorry, that's the answer(for now). If you have a better method, please shoot me an email. (please!).
Remember, writing that first draft is its own reward. But the magic happens in the revisions. :)
Happy Writing(and Revising)
Sherry
Monday, July 23, 2007
Coming back from Nationals was like coming off a seven-day adrenaline rush. It was exciting, invigorating and I came home sure this year I was going to get "the call." The first night, when the phone rang I jumped, "Is this it?" By the second night the old adage "You must submit to sell" seeped back into my brain so I opened my computer and got back to work.
I was anxious to polish my manuscript. I read page after page hoping a misplaced comma here and there was all I needed to edit. What I found was rubbish, intertwined with pieces of the story I'd pitched to the editors and agents. A few thousand useless sentences can't stop me, this is my year! I rolled up my sleeves, grabbed an extra large cup of java and set to work. And work it has been.
I've brutally cut the fat, sparkled the dull spots and jacked-up the conflict. I've read through the first three chapters so many times my hero is exhausted from fighting the same battle. I began to doubt myself, my ability to write a good novel--a sparkle worthy novel. I wondered if I was like one of those pathetic contestants on American Idol who think they can sing, while the rest of the world is covering their ears.
Muscles ached as I sat hour after hour forcing my characters to bend to my will rather than letting them tell the story. Today, exhausted after six hours of grueling editing, I closed my computer and headed to Yoga.
We had a new instructor. He emphasized our breathing and stretching and then he added something--a gem to make our practice sparkle. He said, "Don't muscle into your poses, let the stretch happen." I was contorted in a half-pigeon, my least favorite pose. My hips were screaming to be freed from the torture. Again, he reminded us to let it happen. He said, "You think you've gone as deep as you can but there is always more. Let it happen, breath, relax, let your muscles do what comes naturally. I breathed, I concentrated on relaxing and it happened. The muscles in my legs seemed to melt allowing my hips to open up dropping me further to the ground. While trying to muffle the little voice of doubt worrying about how I was going to find my way out of the pose, I thought about my book.
I'd left my heroine in a precarious situation. I saw her suspended from a tree wondering when I would return and get her out of her predicament. The instructor’s words echoed in my head. "Let it happen."
As I stretched and breathed I let my mind take the journey. My hero appeared right on cue and saved the day. I could feel myself feeling anxious about getting home to write the scene before it slipped to the abyss of "pure genius scenes" never to be seen again. But true to his character, my hero gave me the okay signal and I knew he would return when I needed him.
Driving home from class, I thought about how we sometimes try to muscle our way through adding and deleting scenes, Page after page, we cut, paste, and add until tension builds and our minds are blocked. Sometimes we need to relax, breath and let our imaginations stretch, we need to trust our creativity and let our characters do what comes naturally. I think we’ll find we can go deeper and sparkle brighter.
I was anxious to polish my manuscript. I read page after page hoping a misplaced comma here and there was all I needed to edit. What I found was rubbish, intertwined with pieces of the story I'd pitched to the editors and agents. A few thousand useless sentences can't stop me, this is my year! I rolled up my sleeves, grabbed an extra large cup of java and set to work. And work it has been.
I've brutally cut the fat, sparkled the dull spots and jacked-up the conflict. I've read through the first three chapters so many times my hero is exhausted from fighting the same battle. I began to doubt myself, my ability to write a good novel--a sparkle worthy novel. I wondered if I was like one of those pathetic contestants on American Idol who think they can sing, while the rest of the world is covering their ears.
Muscles ached as I sat hour after hour forcing my characters to bend to my will rather than letting them tell the story. Today, exhausted after six hours of grueling editing, I closed my computer and headed to Yoga.
We had a new instructor. He emphasized our breathing and stretching and then he added something--a gem to make our practice sparkle. He said, "Don't muscle into your poses, let the stretch happen." I was contorted in a half-pigeon, my least favorite pose. My hips were screaming to be freed from the torture. Again, he reminded us to let it happen. He said, "You think you've gone as deep as you can but there is always more. Let it happen, breath, relax, let your muscles do what comes naturally. I breathed, I concentrated on relaxing and it happened. The muscles in my legs seemed to melt allowing my hips to open up dropping me further to the ground. While trying to muffle the little voice of doubt worrying about how I was going to find my way out of the pose, I thought about my book.
I'd left my heroine in a precarious situation. I saw her suspended from a tree wondering when I would return and get her out of her predicament. The instructor’s words echoed in my head. "Let it happen."
As I stretched and breathed I let my mind take the journey. My hero appeared right on cue and saved the day. I could feel myself feeling anxious about getting home to write the scene before it slipped to the abyss of "pure genius scenes" never to be seen again. But true to his character, my hero gave me the okay signal and I knew he would return when I needed him.
Driving home from class, I thought about how we sometimes try to muscle our way through adding and deleting scenes, Page after page, we cut, paste, and add until tension builds and our minds are blocked. Sometimes we need to relax, breath and let our imaginations stretch, we need to trust our creativity and let our characters do what comes naturally. I think we’ll find we can go deeper and sparkle brighter.
Sunday, July 22, 2007
The Perfect Hero and Heroine
“That’s not very heroic,” is an ongoing comment during critique or in contest judging. But the hero hasn’t tortured animals or kidnapped anyone. He isn’t unheroic. He just has certain traits that need to be plucked like a stray eyebrow lash or a challenge that will bring out his best attributes.
Does the perfect hero mean our male protagonist is flawless? Must he embody all the attributes of the ideal alpha male to make the readers love him?
So, I ask, should our heroes be perfect?
Going against the prevailing philosophy, I say “no” and no again. How boring.
I want to see growth (character arc). Though larger than life and facing extraordinary circumstances, I need to see a semblance of a real person on the page. At the start of a book with a hero that is the embodiment of all that is good, noble and sexy, I’m bored. I can’t relate. Why? For me this epitome of heroism is not an archetype but a stereotype. And of course it follows that the man or women is physical perfection with varying shades of hair, eye and skin color. Gag me.
This doesn’t mean the protagonist should have a disgusting habit or committed a grievous sin. If the main character is controlling or curses or doesn’t go to church… will the reader through your novel across the room in disgust?
I agree wholeheartedly that some unheroic actions or characteristics are unpalatable if not taboo. I don’t want to see the hero pick his nose. I don’t want him to have committed a grievous sin. Many years ago on the recommendation of a friend, I read the start of a series and never finished the first book. The ‘hero’ raped someone. I asked my friend why in the hell would I like this book? Her answer was as the series progresses, he must make redemption. Sorry, he was not redeemable in my eyes. Rape or murder is not an accident. And while this character was not repentant initially (though that wouldn’t have made me like him or care about him either.) His change of attitude made no difference to me. He wasn’t a hero, he was scum.
Therefore it appears that some sins are unforgivable but less than heroic traits are acceptable, in my view. That is why I like Beauty and The Beast. The story was not just about looking past the physical, The Beast wasn’t very heroic at the start of the story. Another example that comes to mind is Laurell K. Hamilton’s Anita Blake. The heroine isn’t always likable, she is prejudiced and unyielding. But as Anita grows she learns to become more accepting. She grows as a person. She’s still tough.
Vicki Pettersson’s Joanna Archer, from The Sign of Zodiac series, has both Shadow and Light sides. She seeks revenge and makes poor decisions. But this is a heroine to embrace as she learns and grows. Rachel Caine’s Joanne Baldwin of the Weather Warden series is vain. This heroine sets out to use a djinn to take the Demon Mark (a parasite) from her. She thinks of the djinn as things, not people. But as she learns, her heroism rises to the top.
These are my examples of the less than heroic but infinitely more appealing, entertaining and intriguing heroic characters. Must our hero or heroine have only heroic personas? I’d like to know what you think.
Does the perfect hero mean our male protagonist is flawless? Must he embody all the attributes of the ideal alpha male to make the readers love him?
So, I ask, should our heroes be perfect?
Going against the prevailing philosophy, I say “no” and no again. How boring.
I want to see growth (character arc). Though larger than life and facing extraordinary circumstances, I need to see a semblance of a real person on the page. At the start of a book with a hero that is the embodiment of all that is good, noble and sexy, I’m bored. I can’t relate. Why? For me this epitome of heroism is not an archetype but a stereotype. And of course it follows that the man or women is physical perfection with varying shades of hair, eye and skin color. Gag me.
This doesn’t mean the protagonist should have a disgusting habit or committed a grievous sin. If the main character is controlling or curses or doesn’t go to church… will the reader through your novel across the room in disgust?
I agree wholeheartedly that some unheroic actions or characteristics are unpalatable if not taboo. I don’t want to see the hero pick his nose. I don’t want him to have committed a grievous sin. Many years ago on the recommendation of a friend, I read the start of a series and never finished the first book. The ‘hero’ raped someone. I asked my friend why in the hell would I like this book? Her answer was as the series progresses, he must make redemption. Sorry, he was not redeemable in my eyes. Rape or murder is not an accident. And while this character was not repentant initially (though that wouldn’t have made me like him or care about him either.) His change of attitude made no difference to me. He wasn’t a hero, he was scum.
Therefore it appears that some sins are unforgivable but less than heroic traits are acceptable, in my view. That is why I like Beauty and The Beast. The story was not just about looking past the physical, The Beast wasn’t very heroic at the start of the story. Another example that comes to mind is Laurell K. Hamilton’s Anita Blake. The heroine isn’t always likable, she is prejudiced and unyielding. But as Anita grows she learns to become more accepting. She grows as a person. She’s still tough.
Vicki Pettersson’s Joanna Archer, from The Sign of Zodiac series, has both Shadow and Light sides. She seeks revenge and makes poor decisions. But this is a heroine to embrace as she learns and grows. Rachel Caine’s Joanne Baldwin of the Weather Warden series is vain. This heroine sets out to use a djinn to take the Demon Mark (a parasite) from her. She thinks of the djinn as things, not people. But as she learns, her heroism rises to the top.
These are my examples of the less than heroic but infinitely more appealing, entertaining and intriguing heroic characters. Must our hero or heroine have only heroic personas? I’d like to know what you think.
Saturday, July 21, 2007
The Origins of Sparkle . . .
Sparkle This??? What kind of title is Sparkle This? What's it mean?
Well, here's a little history on the blog, if you're the curious sort.
About seven (or so) months ago, we were meandering among the books at a popular chain bookstore near our homes, discussing the offerings on the shelves and the publishing industry in general. At the time, we were all unpubbed. And so it was only natural to pose the question, what do these books have that our manuscripts lack? What's the sparkle that makes a manuscript publishable while another languishes in the slush pile for months on end only to receive a rejection?
We decided some research was in order. So we started having "Sparkle" meetings. Our first assignment was to go through our keeper shelf and decipher the ingredients which made the book stand out, or sparkle.
Our first meeting was a huge success! Seven of us, coming at the subject from a different angle, with seven different projects was amazing. So, we decided we should continue.
Over the months, we've had several "Sparkle" meetings on different topics. Each has driven us to dig deeper into our writer's toolkit in our own endeavors. Our production increased as our knowledge of the intangibles and tangibles grew. So, Shannon suggested we take our sparle online and set up a blog to aid any and all interested in our findings (or the publishing industry in general).
So, now that your curiosity has been sated, what do you think makes a book sparkle?
Well, here's a little history on the blog, if you're the curious sort.
About seven (or so) months ago, we were meandering among the books at a popular chain bookstore near our homes, discussing the offerings on the shelves and the publishing industry in general. At the time, we were all unpubbed. And so it was only natural to pose the question, what do these books have that our manuscripts lack? What's the sparkle that makes a manuscript publishable while another languishes in the slush pile for months on end only to receive a rejection?
We decided some research was in order. So we started having "Sparkle" meetings. Our first assignment was to go through our keeper shelf and decipher the ingredients which made the book stand out, or sparkle.
Our first meeting was a huge success! Seven of us, coming at the subject from a different angle, with seven different projects was amazing. So, we decided we should continue.
Over the months, we've had several "Sparkle" meetings on different topics. Each has driven us to dig deeper into our writer's toolkit in our own endeavors. Our production increased as our knowledge of the intangibles and tangibles grew. So, Shannon suggested we take our sparle online and set up a blog to aid any and all interested in our findings (or the publishing industry in general).
So, now that your curiosity has been sated, what do you think makes a book sparkle?
If You Build It, They Will Come
Justin Knupp, president and chief designer at Stonecreek Media, has this to say about creating a writer's professional-looking website:
1. Keep in mind your target audience. If you're unpublished, direct your content to agents and editors. Excerpts, awards, projects, professional associations should all be included. Plaster your email address everywhere. At this stage, you're selling yourself as a secondary product, so the content is geared as much toward the writer as the writing. If you're published, the focus shifts to readers and potential readers. Involve them in what you're working on now and next. Be sure to include speaking engagements, press kits, both low and high resolution photos, bio, short blurbs and extended blurbs. Marjorie M. Liu posts deleted scenes from her fantastic books on her website. Create something your readers can't get anywhere else.
2. Don't forget to protect yourself. Copyright information should be visible and updated each year. Be sure to password protect any excerpts. This also goes for blog content.
3. Rule of three. No more than three fonts, colors or random design patterns. Use clear snapshots. Make sure all pages have the same look and feel to ensure smooth web page transition for the audience and create a cohesive author brand.
4. Social and Viral Networks are great for drawing potential readers. MySpace won't sell your books, but if you play nice and make friends, the traffic to your website and links to ALL booksellers can grow exponentially. YouTube trailers, if done well, not only add a great visual to your blogs and websites, but reach visually-oriented consumers in a way that reviews and other print advertisement cannot.
5. Both pre-published and published authors should have a way to gather a database of names and contact information. Newsletters deliver your message to reader's inboxes and urge them to return to your website and blog, thereby increasing traffic and re-enforcing your author brand. Yahoogroups serve the same purpose, but some visitors won't like the extra steps necessary to sign up. Contest tie-ins, book giveaways and other freebies are all great ways to build a visitor's list, just make sure you let them know and find opt-in, opt-out software for user friendliness.
6. Want to be higher on Google? As of January, Google has again changed the way it tracks website content. Make sure your site navigation, along with interactive buttons, is in text form on every page, key words and descriptions are used in text form on your homepage and all metatags are in place.
According to Mr. Knupp, immersive media websites are the next wave of book promotion. He recommended the websites of J.K. Rowling, Alison Brennan and Sherrilyn Kenyon as great examples of this.
His position? Always go for a professional, of course. Stonecreek Media will put together a basic, 5 page, no blog website for around $525.
1. Keep in mind your target audience. If you're unpublished, direct your content to agents and editors. Excerpts, awards, projects, professional associations should all be included. Plaster your email address everywhere. At this stage, you're selling yourself as a secondary product, so the content is geared as much toward the writer as the writing. If you're published, the focus shifts to readers and potential readers. Involve them in what you're working on now and next. Be sure to include speaking engagements, press kits, both low and high resolution photos, bio, short blurbs and extended blurbs. Marjorie M. Liu posts deleted scenes from her fantastic books on her website. Create something your readers can't get anywhere else.
2. Don't forget to protect yourself. Copyright information should be visible and updated each year. Be sure to password protect any excerpts. This also goes for blog content.
3. Rule of three. No more than three fonts, colors or random design patterns. Use clear snapshots. Make sure all pages have the same look and feel to ensure smooth web page transition for the audience and create a cohesive author brand.
4. Social and Viral Networks are great for drawing potential readers. MySpace won't sell your books, but if you play nice and make friends, the traffic to your website and links to ALL booksellers can grow exponentially. YouTube trailers, if done well, not only add a great visual to your blogs and websites, but reach visually-oriented consumers in a way that reviews and other print advertisement cannot.
5. Both pre-published and published authors should have a way to gather a database of names and contact information. Newsletters deliver your message to reader's inboxes and urge them to return to your website and blog, thereby increasing traffic and re-enforcing your author brand. Yahoogroups serve the same purpose, but some visitors won't like the extra steps necessary to sign up. Contest tie-ins, book giveaways and other freebies are all great ways to build a visitor's list, just make sure you let them know and find opt-in, opt-out software for user friendliness.
6. Want to be higher on Google? As of January, Google has again changed the way it tracks website content. Make sure your site navigation, along with interactive buttons, is in text form on every page, key words and descriptions are used in text form on your homepage and all metatags are in place.
According to Mr. Knupp, immersive media websites are the next wave of book promotion. He recommended the websites of J.K. Rowling, Alison Brennan and Sherrilyn Kenyon as great examples of this.
His position? Always go for a professional, of course. Stonecreek Media will put together a basic, 5 page, no blog website for around $525.
Thursday, July 19, 2007
My latest AH HA! moment
Hands down, the best workshop I attened at the RWA National conference was Michael Hague's "From Identity to Essence: Love Stories and Transformation." Brilliant. It made so much sense, my brain was on fire trying to listen to the lecture and plot a new book at the same time. I'll go over a bit of what he discussed, but trust me, you'll want to buy his books or CDs, I really cannot do justice to his lecture. And if you can go and take one of his classes, do it!
He broke down the basic esstentials of story:
1. character - vehicle for reader emotion
2. desire - drives the story forward
3. conflict - creates emotion
Listed the four basic desires (in Hollywood movies):
1. to escape - something or someone
2. to retrieve - treasure hunting plots
3. to stop - something bad from happening like murder, war, etc.
4. to win - sports stories, and love stories
Provided key components to making your protagonist great:
1. how will the reader empathize with the character?
a. through sympathy
b. by putting the character in jeopardy
c. making the character likable
d. making the character funny
e. or making the character powerful and really good at what he/she does
2. Ask your protagonist what he/she longs for?
3. What is the protagonist's wound, the source of his/her continuing pain?
4. What is the protagonist's belief as a result of this wound?
5. What is the protagonist's fear?
6. What is the protagonist's identity? That false front they show the world?
7. What is the protagonist's need?
8. And finally, what is the hero/heroine's essence? The real person they become at the end of the story?
Hague defined the four categories of character:
1. hero
2. nemesis - stand in way of goal
3. reflection - side kick, best friend
4. romance character - love interest
And this point, right here, is worth gold:
The biggest weakness with most love stories, particularly the ones that fail, is that there is no logical reason for the two characters to fall in love. The romance character must see beneath the identity (false front) of the hero and accept him/her for their essence (the person they will become) when no one else does.
AH HA!!!
He broke down the basic esstentials of story:
1. character - vehicle for reader emotion
2. desire - drives the story forward
3. conflict - creates emotion
Listed the four basic desires (in Hollywood movies):
1. to escape - something or someone
2. to retrieve - treasure hunting plots
3. to stop - something bad from happening like murder, war, etc.
4. to win - sports stories, and love stories
Provided key components to making your protagonist great:
1. how will the reader empathize with the character?
a. through sympathy
b. by putting the character in jeopardy
c. making the character likable
d. making the character funny
e. or making the character powerful and really good at what he/she does
2. Ask your protagonist what he/she longs for?
3. What is the protagonist's wound, the source of his/her continuing pain?
4. What is the protagonist's belief as a result of this wound?
5. What is the protagonist's fear?
6. What is the protagonist's identity? That false front they show the world?
7. What is the protagonist's need?
8. And finally, what is the hero/heroine's essence? The real person they become at the end of the story?
Hague defined the four categories of character:
1. hero
2. nemesis - stand in way of goal
3. reflection - side kick, best friend
4. romance character - love interest
And this point, right here, is worth gold:
The biggest weakness with most love stories, particularly the ones that fail, is that there is no logical reason for the two characters to fall in love. The romance character must see beneath the identity (false front) of the hero and accept him/her for their essence (the person they will become) when no one else does.
AH HA!!!
Thursday, July 12, 2007
RWA National - Wahoo!
The Romance Writers of America national conference is THE place to be if you want to be a writer. I cannot begin to describe how supportive and creative every member is. My muse is buzzing, my spirits soaring and my feet ache. Ah, well. And they are all here to celebrate the romance genre, learn, network and help others improve their craft. Three years ago I was a fortunate recipient of a scholarship to the national conferene. A dear friend and author, Juliet Burns, submitted my name to Jill Barnett. Jill devotes a great deal of her time, money and heart to helping new writers. Her books are gems and her heart is gold. http://www.jillbarnett.com/
That is what Sparkle This is about, too. We believe in love, writing, books and helping others. We want to share the gems we find and watch the gleam - right now I'm a "garnet" type of sparkle (wink, wink).
Along with the talented group of Sparkle This women, the RWA has well know authors contributing to the conference blog each day - so take a peak.
http://www.rwanational.org/cs/rwa_annual_conference/rwa_conference_blog
Today the keynote speaker at lunch was Lisa Kleypas. She gave a witty and poignant speech about why we should write and read romance. . . it had something to do with armadillos, women deserving and getting respect, living life, having dreams and above all - love.
Yesterday RWA sponsored a 400 + author signing benefiting literacy. The ballroom was packed and THE place to buy books and meet favorite authors. I am always amazed at the graciousness of the phenomenal Nora Roberts, Linda Lael Miller, Susan Elizabeth Phillips et. al.
Thank you for stopping by.
That is what Sparkle This is about, too. We believe in love, writing, books and helping others. We want to share the gems we find and watch the gleam - right now I'm a "garnet" type of sparkle (wink, wink).
Along with the talented group of Sparkle This women, the RWA has well know authors contributing to the conference blog each day - so take a peak.
http://www.rwanational.org/cs/rwa_annual_conference/rwa_conference_blog
Today the keynote speaker at lunch was Lisa Kleypas. She gave a witty and poignant speech about why we should write and read romance. . . it had something to do with armadillos, women deserving and getting respect, living life, having dreams and above all - love.
Yesterday RWA sponsored a 400 + author signing benefiting literacy. The ballroom was packed and THE place to buy books and meet favorite authors. I am always amazed at the graciousness of the phenomenal Nora Roberts, Linda Lael Miller, Susan Elizabeth Phillips et. al.
Thank you for stopping by.
Wednesday, July 11, 2007
Welcome!
Just a quick howdy before I head out for the Romance Writers of America annual conference. The Sparkle gang will attempt to dish about the happenings at RWA, and include for your viewing pleasure...photos.
Subscribe to:
Posts (Atom)
