An unlikely hero . . .

I just finished the movie Man of the Year, with Robin Williams. For those who haven’t seen: Robin Williams plays Tom Dobbs, a satirical, political comedian who ends up running for President of the United States and winning. The hitch – there was a computer glitch in the voting system (wow! Doesn’t that sound like real life?) and he wasn’t actually, legally, technically elected.

Tom Dobbs learns about the computer glitch from the head female computer programmer of the company hired to develop and oversee the voting machines. Can Tom Dobbs believe this woman who spouts technical information regarding his actual loss in the race? Is she crazy? On drugs, as voting machine company keeps inferring? Someone with an ulterior agenda? Or is she legit and he, as President-elect, the fraud?

Hence is born: an unlikely hero.

I’ll not tell you whether he accepts her truth as his truth. It is the dilemma of this movie that reminds every writer of our central purpose: CONFLICT!

Not just any simple-minded conflict, but the internal, tear-your-soul-out kind of conflict we must inflict on our characters. Without conflict, will a reader care what happens to our hero? Our heroine? Never.

Think back on great literature . . .
Sense & Sensibility – ah, certainly there are any number of heroes and heroines on these pages. But they weren’t unlikely choices. They did what I expected. Pride & Prejudice, same thing. Don’t get me wrong. I love these books. But these characters weren’t unlikely heroes. Only people who ultimately did the right thing.

Something I more recently read, however, fits the bill.
Claiming the Courtesan by Anna Campbell. Simple farm-girl Verity Ashton cashes in on her exceptional beauty by becoming London's most sought-after courtesan in order to save her younger siblings from starvation. Does she have a choice? Not really, not as the story unfolds, but through her struggle to entertain men and not lose her own inner identity, the reader sympathizes, empathizes and roots for Verity. When opportunity finally presents the chance to return to a simple way of life, Verity seizes it. Her stint into proper society doesn’t last as her most recently spurned lover tracks her down and destroys her image of propriety. Verity has every right to despise this man, but her innate sense of honor and dignity prevails once again. Instead of destroying him, she saves his very soul.

Hence is born: an unlikely hero. Or in this case an unlikely heroine.

The pay-off for this type of conflict is dramatic and satisfying. It isn’t about a character doing the right thing . . . or following what they’ve been brought up to believe. It’s deeper, darker, more painful and the suffering is shared with the reader, who not only want this character to survive, but to thrive.

Share it: story you love the best with an unlikely hero or heroine.

Until next time
~ Sandra

PS ** I have another book-signing at Barnes & Noble scheduled for September 6th, 2007 @ 7:30pm. I'll be signing HARM'S WAY.

Theme : It's Not A Dirty Word.

When I first started writing, I didn't think about theme. I'm a plotter not a pantser. I could wade deep into a story before I realized there was an undertow of emotions wrapped around the characters, a central emotional element tugging them toward some intangible inner crisis.

It was not unusual for me to plot a whole book. Write the dang thing and still not quite grasp the theme.

I think I had a mental block. Theme implied those God-awful term papers in highschool that made my brain hurt and my eyes glaze over.

It wasn't until a few years ago that I opened an old file from a backup disk and started reading a story I loved but that had been rejected by a publishing house. There was a vague comment about the theme not being appropriate at this time. I'd submitted it the first week of September 2001. I received it back a mere six weeks later. A record breaking turn-around and rejection on a requested partial!

And of course, I realized the timing just stunk. Who could've guessed?

It was about a D.C. reporter who'd nearly been killed by a terrorist bomb in the capital. (Yeah. Spooky.) This life-changing moment put my hero's entire life in perspective in an instant. While recuperating, he decides to leave D.C. and return to his wife and two daughters he'd left behind to pursue his high-profile career. But before he can make good on his intentions, he receives a letter from his youngest daughter informing him she's getting a new daddy.

I realized within the first few pages that the theme of the novel was redemption. And through taking a thorough look at all the other books I'd written over the years, I realized that I went back to the same themes over and over.

Redemption. Second chances.

In the worlds I'd created, all my heroes and/or heroines were royal screw ups (in one form or another-either deliberately or because they allowed themselves to become blinded by something in their true nature). But when faced with right motivation and opportunity to redeem themselves, they did. Not only was I writing this theme over and over, I was also reading it. My keeper shelf was full of redemption stories. Even my DVD collection was weighted with underdogs trying to right a wrong they'd created for themselves.

Once I established this, I realized I was drawn to flawed characters, the more fatally flawed the better! Flaws give characters a rooting interest and make them interesting on multiple levels.

Some part of me recognized there were things in my own life I wanted a second-chance to get right--a do-over. It'll never happen because I live in reality. But there's a part of me that can still remember the sick pit in my stomach over missed opportunities, misguided loyalty or an impulsive overly critical remark.

So, if you're looking for the theme in your current wip, try looking in the mirror. And take an honest look.

What do you care about? What do you wish? What do you want more than anything? What is your least favorite/most favorite characteristic in others? In yourself? What are you most proud of? Most ashamed? Which emotion do you find hardest to deal with? In yourself? In others? (Ideally, write down 20 questions and answer them as quickly as possible. No editing! --yes, it may seem bleak or harsh when you go over it later. That's okay.)

Every answer is a universal theme; universal because they're shared by all of us at one time or another. Keep a list of the top five that draw you. Chances are, you'll find you use variations of the same theme or themes over and over. This isn't a bad thing. I think I've actually grown as a writer and as a person by analyzing not only my characters but why I'm drawn to these themes.

Finally, if you allow yourself a chance to connect with the themes in your real life, you'll have a far better handle on the themes that circulate in your work. And perhaps, like me, will find that theme is not a dirty word.

Sparkle on!

Guest Blogging -- Teresa Southwick

Joining us today at SPARKLE THIS! is Teresa Southwick, author of 4 historical and over 25 contemporary romance novels. A two-time National Reader's Choice and one-time Rita finalist, she was also a Romantic Times Magazine Reviewer's Choice double nominee for Career Achievement and Best Series Romance for 2003. A native Californian, she recently relocated to Las Vegas where she is neglecting the casinos while working on her next book.

Teresa's most recent release, THE SHEIKH'S CONTRACT BRIDE was a June 2007 release from Harlequin Romance. This phenomenal read pits Sheikh Malik Hourani, a Crown Prince, against one very determined school teacher, Beth Farrah. Sheikh Malik understands duty and honor, and hates a liar. He is ready to fulfill his family obligation by marrying and producing heirs to the throne of Bha'Khar. Only one small problem stands in his way: the woman he's been betrothed to since birth will do anything to keep from marrying him -- even telling a whopper of a lie. For those who enjoy characters who leap off the page with their strong wills and sexual tension that singes the pages, then THE SHEIKH'S CONTRCT BRIDE is a must read.

Teresa graciously agreed to sit down and let us in on a few publishing hints. So slid into your comfy slippers and tell the kids to leave you alone, here's what Teresa said.

TS: I’m delighted at this invitation to guest blog for “Sparkle This.” Books have been a joy for me since learning to read and I think it’s a wonderful endeavor to analyze just why certain books earn a revered place on our “keeper” shelf. So, here goes.

SF: What makes a book sparkle for you?

TS: I’d have to say it’s the characters, and by extension, their dialogue—internal dialogue, too. If I’m going to spend precious time with these people, I want it to be fun, witty, and emotional. Make me laugh and cry. From a writer’s standpoint, in my own work I take a hard look at passages that have more that one page of character introspection. In my opinion, and it’s only mine, any more than a page of dense introspection slows story pacing. It’s important to look at what information can be revealed in dialogue between your main characters. Otherwise readers, and I’m one, will scan forward to look for where the characters finally talk to each other.

SF: What is the best advice you ever received?

TS: This tip is from Nora Roberts. Big surprise. I heard her speak at an Orange County RWA meeting and her advice was: you can fix bad writing, but you can’t do anything with a blank page. Subtext: keep writing. It’s deceptively simple and I recently figured out why it’s so profound.
While you “keep writing” you’re also learning what works and what doesn’t. You’re sending out your projects and figuring out how to negotiate the potholes and pitfalls of publishing. While you’re persevering, you’re developing your own character skills for longevity in the writing business. The first sale isn’t the end of the struggle, but the beginning. Careers have highs and lows and the same perseverance and fortitude that got you published will see you through all the trials and tribulations.

SF: Which of your books do you like best? Why?

TS: My favorite book is a December 2006 release from Harlequin Romance called CRAZY ABOUT THE BOSS. It’s part of a continuity series called The Brides of Bella Lucia that was designed to merge readers from Silhouette Romance into the new Harlequin Romance line.
Even though I was invited to participate in this project it came during a time of career crisis for me. For some reason I was having difficulty writing book proposals. I’d do one chapter and a twenty page synopsis and my editor was sending them back with revision suggestions—sometimes twice. I was both worried and embarrassed. Plus I felt bad. Editors are already overworked. The last thing they need is more to do. I wasn’t happy about it either; I’d much rather do it right the first time.
So I asked a couple writer friends to critique the chapter and discussed it in depth. Then I wrote and rewrote, edited and tightened. It paid off. Kim Young, Senior Editor of the Harlequin Romance line emailed to let me know that CRAZY ABOUT THE BOSS sold first in the UK, and first in the North American market. They also have something called a monitor panel, a sizeable group of UK readers who rank and comment on the books each month. My book also scored first with this panel and their comments were very positive. Kim wanted to know if I had a new proposal for her and was disappointed when I told her I’m currently working on a series for Special Edition. “Good for them, not for us,” was her reply. This was balm to my battered soul and proof that I hadn’t forgotten how to write. I keep a printout of her email tacked up on my bulletin board, right beside the friendship prayer.
Last, but not least, this book was a finalist in The National Readers Choice contest. It feels like the prodigal son—problematic in the beginning with an immensely satisfying outcome for all the hard work. It also reinforces what Nora said: Keep writing.

SF: Any final advice?

TS: I’ve often said that a writing career isn’t for wimps. It’s a huge commitment of time and emotion but there are so many rewards—including my “Sparkle This” friends. I had so much fun with you at the RWA conference in July and miss y’all more than I can say.

Happy writing everyone!
Terry

Teresa Southwick also writes for Silhouette Special Edition. She just finished an inline continuity book. PAGING DR. DADDY will be out in March 2008. In April her new series for the line—Men of Mercy Medical—will debut with THE MILLIONAIRE AND THE M.D.

On a personal note: It has been my pleasure to critique with (she does most of the critiquing of my work, I just occasionally make a suggestion on hers) for a number of years. Terry gives unselfishly of her publishing and writing knowledge to any who ask. On a book note: If you aren't reading Teresa Southwick -- you're missing a treat!

Thanks for joining our guest blogger. Be sure to leave your comments or questions for Terry in the 'Sparkling Comment' section. We love to hear from you.

Happy Writing
~ Sandra

4 Elements of a Logline - One line plot description

Save The Cat by Blake Snyder, Summary of Chapter One – What Is It?

A log line is a movie/screen writing term for a one or two line description of the story. Snyder says screenwriters can sell their screen play if they have the following 4 elements.

1) Irony- A good story will have a twist.
Identify the conflict. Mention the protaganist (Hero/Heroine) and the antagonist to involve the readers emotions.
2) Target Market.
For the author of novels this would be the publisher and genre. Does the description provide an idea of the reader/market?
A bookstore is divided by genre to engage the target market. Readers that enjoy romance, young adult section, mystery, scifi, etc. head to the labeled section. A blurb on the back, though longer, tells the reader what the story is about.
3) Create a mental picture.
Does the description give the potential reader a visual idea of what the book/movie is about?
4) Killer Title.


Snyder says if the logline has these elements your pitch will be successful. Even better condense the movie for the marquee and – voila!

So we may not be screenwriters, but as authors if we heed Snyder’s advice we have a better chance of selling our book to the publisher and the reader.

What books do you think are good examples?

After sharing your good examples, I thought a look at some well known books would be interesting. I love all these books but if someone hadn't recommended Outlander I never would have read Gabaldon's work. What title and description would you give for any of the following?

Outlander, Diana Gabaldon
Twilight, Stephanie Meyer
To Kill A Mockingbird, Harper Lee
Fahrenheit 451, Ray Bradbury
Guilty Pleasures (Anita Blake Vampire Hunter), Laurell K. Hamilton

Isn't it Ironic?

Irony: a contrast in which one facet of a story mocks another

Irony is a technique writers can use to hint at the complexity of an experience using an economy of words. By suggesting meaning without having to go into lengthy explanations, the writer can create a lasting impact on the reader. There are three kinds of irony in fiction:

1) Verbal

This kind of irony is the simplest and least impactful kind. When a character says something that has the opposite meaning from what he or she intended, it becomes a simple play on words. Verbal irony is often used for comedic effect.

2) Dramatic

Dramatic irony is a direct contrast between what a character says and what the reader knows to be true. An author can use this type of irony to plunge deeper into a character, as the said comment can reveal truths about the character's value system and core beliefs.

3) Irony of Situation

The most impactful kind on irony, this writer's tool presents a discrepancy between appearance and reality. Expectation and fulfillment. An example would be the hunter becoming the hunted.

Okay, your turn. Can you think of an example in film or fiction that uses one of the three types of irony to deepen the audience's experience?

Book-Signing Event

Today is my turn at selfish self-promotion.

This Saturday, August 25th, 2007, from 2:00 until 4:00pm, I will be signing copies of my romantic suspense, HARM'S WAY, at the Barnes & Noble, located at 8525 Airport Freeway, N. Richland Hills, TX 76180. If you're familiar with the area, it's near NE Mall. You're all invited. Feel free to drop by for chocolate and a chance to win a nifty 'Be Good To Yourself' basket.

Here's an excerpt from HARM'S WAY:

Alex Harmon looked down at her, his gaze held at bay by mirrored sunglass. His fingers tightened their grip. “You’re trembling.”

“I was being silly.” Victoria tried to shrug and hold onto her smile, but it must have slipped. His entire body seemed to go on alert. She’d never felt this kind of tension roll from one person. It washed over her, past her almost as though he surrounded her with his strength. The tug was gentle, but he drew her closer as his gaze lifted above her head.

“What are you being silly about?” With his free hand, he reached beyond her to flip the garage light switch. The room remained suspiciously dark.

“I smelled ...” It sounded ridiculous to even repeat, but the scent didn’t belong in her garage. “I smelled a lemon cleaner.”

“And you don’t use one?” He was listening to her, hanging on every word.

“I don’t get a lot of cleaning done in the garage.”

“The smell is out of place?”

“I told you it was silly.”

His glance dropped to her face, and then quickly rose to scan the enclosed area. “When did the light work last?”

“I’m not sure. Depending on how late I leave the office, I park by the front porch.” She took a side step to ease out of his way.

The grip on her elbow crushed the fabric of her blouse and stilled her movement. “Don’t do that.”

Then she was certain. His stance wasn’t to keep her blocked in, but to keep the rest of the world, whoever that might be, blocked away from her.

What one reviewer said about HARM'S WAY:
HARM'S WAY is filled with suspense. With the end of every chapter comes the overwhelming desire to keep turning. . . . HARM'S WAY reminded this reader of Nora Robert's suspense books. It was so good, I had a hard time putting it down. . . .
Reviewed by: Judy Thomas, of THE LONG AND SHORT OF IT!
For the entire review, go to: The Long and Short of It!

To see more reviews, go to:
Lone Star Meanderings

Happy Reading
~ Sandra

Creativity. Get it. Use it.

In order for our writing to Sparkle, I think we have to get in the zone, or in the mood. Whatever that right place is where we feel passion, feel our characters struggle, feel the angst, the happiness, the love--whatever. But a lot of times with busy schedules and only snippets of time to work, it's hard to achieve that certain state of mind. So what do we do? What do I do? Besides have a drink to relax? (Gin & tonic works very well, by the way. Totally relaxes me and shuts off the internal editor).

In my search for the answer, I thought hard about the creative process. How do I get it? And how do I use it? What the hell does it even mean--creativity?

I looked for definitions and found many, which are all true and relevant, but none really spoke to my personal definition of the word. So I came up with my own: Creativity is a natural adrenaline high that enables us to generate new ideas and concepts. By my own definition, I need adrenaline to write. I think we all do, because the best stories are the ones we feel the strongest about. It’s the stories we labor over, and ponder on, and rewrite and think about some more that are the best. The ones that get our blood pumping.

So how do we achieve an adrenaline high every time we sit down to write?

First of all, I think you have to be clear about what you want. Is it to write an outline, a rough draft of a novel, an article or simply a blog entry? Decide. Write it down and then hang it up where you can see it. This small clarification will allow the adrenaline to flow freely, pushing you to the end of your goal. I think if you don’t have a clear idea in mind, an end goal, then you’re going to lose passion, lose patience, lose the belief in yourself and your project (because the goal isn’t clear and you’re confused) and ultimately you will experience disappointment.

And disappoint KILLS creativity.

So for today, think about what you really, really want. Be crystal clear about it. Write it down. And then visit me again next week when I write about the second part of this process.

Setting

I've loved all the Characterization topics this past week. Since my fellow bloggers have covered the subject most eloquently, I'll move onto another element closely linked and a subtle tool of every successful writer.

Setting as Character.

So many novels have memorable characters and a great plot but fall flat on the last element of a great novel: Setting.

You have to think of it as more than the place where the story happens, a backdrop or stage where all the action takes place. Setting must be elemental. It sets the tone or atmosphere and sets the reader's expectations.

Would Mary Shelley's Frankenstein have been quite so chilling if it hadn't taken place in a creepy casle laboratory?

Would Jane Austen's Pride and Prejudice have been quite as romantic and evocative if it had taken place in present day, without the strictures and mores of 18th century England?

Would Harry Potter have been the same if it hadn't been set in a magical world?

No, no and no.
Each of these examples convey more than a senes of place. The writers instilled atmosphere, tone, depth, mood, symbolism and even stereotypes (**I hope you noted all these stimulate an emotion). Each of the settings were essential to the novel.

Just for a moment, think about looking at a picture. For this exercise, let's use a photograph. The central subject smiles for the camera (the facade/outer face acceptable to show the world). But within the background (setting) there are other objects. Maybe other people. Your gaze glances over the two-dimensional image and categorizies the contents. Perhaps your gaze lingers over two or three items.

These are markers (universal themes) your brain uses to tweak a memory or experience. You apply your experience to the object and the character. So be specific in where you draw the reader's attention. A little goes a long way. As readers, we don't want to be beaten up with your beautiful setting. But feel free to wow us.

For more on this subject, check out Setting by Jack Bickham from Writer's Digest Elements of Fiction Writing series.


Happy Writing,
Sherry

Melissa Kemp, Kevin Szymczak, Laura Wimpee, Callie Sparrow, Tyler "Chuck" Nivens

Teen Panel

I know I promised to write more about larger than life characters this week but I’ll have to put that aside for a week.

As a forty-something-year-old writing Young Adult, I was worried I was out of touch with teens. It seems most YA books depict the cheerleaders as sisters of Satan who rule the school spreading fear along with their legs. I don’t buy it. Maybe because my two daughters were cheerleaders... Anyway, I decided to go directly to the source. I gathered some teens in our neighborhood together and invited them to meet me at Starbucks--my treat of course.

I had a great time and I don’t think they thought it was too lame. In fact, they agreed to meet again!

Before, I get into my enlightenment; I’d like to share the demographics of my little group. Melissa, Callie, and Laura are juniors. Kevin is a senior and Tyler has just graduated and off to college. All of the kids live in Waxahachie and attend Waxahachie High school. In all fairness to the guys, they just happened to be at Starbucks and were roped into the conversation. They were great sports.

With cliques being such a big part of the high school experience, I asked about the groups in their school. Melissa and Laura are cheerleaders. Callie is the school mascot. So what stereotype does that conjurer? Self -centered, mean girls who rule the school? Right? Hardly.

Melissa and Laura also serve on the yearbook committee and Callie is involved with FFA (that’s Future Farmers of America for you city folk) and Advanced Theater. Hmm puts a little kink in the whole cheerleader vs. the rest of the school stereotype.

When I was in high school we called the cowboys ropers, or s--t kickers. Waxahachie is a fairly rural city, so it’s hard to separate the cowboys from everybody else. There is a group of guys who hang around their Ford F 250’s and try to avoid getting caught chewing tobacco. Those are known as red necks. But, again they are not an exclusive faction. The guys may also play football, march in the band, or serve as a class officer.

The band members good-naturedly call themselves “band nerds.” Again this does not limit their association. When my two daughters cheered in 2002-ish one of the members of their squad also marched with the band during half time.

Okay so the message is clear, not all cheerleaders are bad and not all band members are nerds. So what about the other groups?

Geeks still exist, so do jocks, and skaters. Have you heard of “emo”? Me either. Emo stands for emotional. These kids dress almost Goth, but with a twist. They are very emotional. The guys are often seen wearing girl’s jeans and they wear them really, really tight.

I had to ask about the mean girls. I know they exist, who are they? Not names just what group is an honest representation of them. According to my panel, “Mean girls think they are popular but really they’re just mean. They don’t rule the school.”

So clique-talk out of the way, here’s a list of questions and answers.
What are the hot T.V. shows?
Gilmore Girls-according to the guys Rory is totally hot!
One Tree Hill
Dirty Jobs
Mythbusters
Surprised about the last two? I was.

Favorite Movies:
Princess Bride
Big Fish
Pans Labyrinth
Men In Tights
Monty Python
Ever After
How to Lose a Guy in 10 days
John Tucker Must Die
So where are the latest movie? I was blown away that they chose older movies and I have to agree with most of them.

So you may be wondering if my brilliant cast reads. Well yes they do and often. Melissa and Laura have read many of the Gossip Girls series but are getting tired of the plots. They said they’re beginning to sound the same; they want something a little different. They have read The Sisterhood of the Traveling Pants and loved it. And by the way if you haven’t read it, put it on your to do list. The current favorite is My Sisters Keeper.

I asked what was the assigned reading that was the biggest surprise in a good way. For Callie it was The Giver. The others agreed that it was a great book.

The kids were so open and fun to talk to. Currently, they are involved in a car chalk war with another group. It was a blast to sit back and listen to them talk. But I’ll save the war and dating for next time. I hope you learned something. I sure did. I will be meeting with them again in a couple of weeks, post your questions and I’ll ask them.

Until then, happy writing!

Why this is short - Character Names.

I had planned to post about creating a great logline - best laid plans, etc. But I have a wonderful reason for altering my plan. I found a special needs puppy to care for and love. I haven't found his name yet.

So on the topic of naming and a perfect follow up to L.A.'s post on Standing Out In a Crowd-Characternyms, I have a blurb from my website about character names.

I enjoy etymology. As a writer the meaning and history behind a word can add richness and depth and heck it's just plain interesting.

My character in the short story Dreams of Summer is named Rayna Engel. If you know any German, Engel is easy = Angel. The origin and meaning of Rayna is varied. In Latin, from Regina, the name means Queen. In Yiddish the name is similar to Katherine, clean and pure. The website Thinkbabynames.com lists the origin as Scandinavian and Israeli meaning: counsel; song.

My heroine sings . She always gets the words wrong (great fun rewriting lyrics) and she is a pure soul. I didn't want to name my character Aria or Carol, too transparent. Rayna is the perfect name.

What examples of character names ring true for you?

Standing Out in a Crowd

As a writer, it's your responsibility to distinguish one person populating your story world from another. Giving each character a distinctive trait or quirk is called "tagging" or labeling. Here's some tag types:

Characternyms: These are character names that reflect that character's role or personality in a story. In Peter Abraham's A PERFECT CRIME, he named one of the lead characters, a man who discovers his wife in the throes of adultery, Roger. This character, screwed over in the literal and figurative sense of the word, makes for wonderful symbolic characterization the reader can sink into when they're grasping for a foothold in a new story. Even "Jolly Roger," the sarcastic nickname by which another character refers to him on page five, begins to carve out the nature of his character. Remember to avoid using names that start with the same letter.

Recurring Speech Patterns: In addition to regional accents or speech impediments, you can utilize jargon related to the character's occupation or education level to make characters distinctive. Maybe your heroine's mother drops Italian like F-bombs in her speech. Have you ever known anyone who used malaprops--the wrong words--when trying to make a point? In THE CHERRY ORCHARD, the Russian playwright Chekhov created an old man named Gaev who would call out billiard shots in the midst of his speeches. Not only did this set him apart from the other characters, it carved out part of Gaev's backstory as a part of the lower-class society who gambled at billiards to make ends meet.

Recurring Action: Visual techniques also help the reader identify characters. What about a character that stumbles over everything or bites his fingernails (please, not the hero!). In BUILDING BELIEVABLE CHARACTERS, Marc McCutcheon compiled a fantastic list of personality/identity traits, including characters who: pick fights, forget their train of thought, shout at the TV, wear too much cologne, litter, fall asleep in his clothes, etc. Consider carefully what the action implies, as comedic tags may undercut the core of the character you wish to get across to the reader.

Clothing: A character who wears his military outfit long after his service years are over conveys something entirely different than someone who wears a black Sex Pistols shirt. Klinger wore a dress in M*A*S*H that spoke to his motivation. Carrie Bradshaw had Milono Blahniks. Sometimes even the smallest articles can divulge just the right amount of character.

Need more ideas? In your writer's journal, keep an ongoing list of observed behaviors or snippets of interesting slang or dialect. For clothing, keep an eye out for magazine or clothing sales ads featuring unique or eye catching outfits to store in a clip file.

What's the most ingenious way you've used to distinguish a character?

More than a box of crayons . . .

I’m a rather visual person – I love color, bright shades, highlighted focal walls, coordinating tints. Yep, it’s all around my house. And I’m not alone. My family members, bless their little pointed hearts, have adopted the same thirst for color. One daughter painted her room vivid pink. Let me go on record and say I did try to motivate her toward a lighter, less vibrant shade, but she was absolutely certain it was the ‘perfect’ color. Four walls in this tint and the experience was like living inside a Pepto-Bismol bottle. (No, you can’t use that example; it’s already in my current romantic suspense, Trickle of Lies) The point is that color surrounds us in the real world, yet so often in print, writers languish over the same ‘boring’ words to describe shades.



Did you know that the first box of Crayons was released in 1903 and sold for a nickel a box? Cool trivia fact, save it for the next time you’re playing Trivial Pursuit. Only eight (8) colors were in the box: red, orange, yellow, green, blue, violet, brown, and black. In 1903 that might have been enough shades, but today’s writers need to get beyond the basics and expand the ‘color’ vocabulary.

Pulling a page from Crayola, writers can deepening the sensory perception of their readers by painting word images with the right colors.

What do these words bring to mind?
Cotton Candy
Deep Sea Blue
Purple Heart
Fire-engine Red
Tar
Head-light White
Sunshine Yellow

How many have never eaten Cotton Candy? Or at least been to a fair or a carnival and seen the sticky stuff? Word of caution: if the writing is destined for heavy distribution in overseas markets, not all of these words will work. For most readers, however, Cotton Candy is universal and provides instant color association. Even in a 95,000 work of fiction, no writer wants to spend ten words to produce color recognition, when one or two will do. Consider options when describing shades. Use personal history. Each of the above images belongs to my background. What shades come from your history?

Still grappling with sensory perception? Here are a few more examples to get started:

Purple: plum, violet, lavender, lilac, Purple Mountain Majesty (thanks to Crayola)

Pink: orchid, fuchsia, shrimp, carnation, rose, blush, salmon, Wild Strawberry (thanks to Crayola)

Gray: steel, slate, iron, dove, metallic, silver, Timberwolf (thanks to Crayola)

Blue: sky, aqua, Bluebonnet, navy, periwinkle, Denim (thanks to Crayola

Green: lime, sea-green, kiwi, celery, avocado, leaf, Granny Smith Apple (thanks to Crayola)

Yellow: sunshine, lemon, banana, mustard, dandelion, SunGlow (thanks to Crayola)

Red: crimson, blood, Christmas red, scarlet, apple, Brick Red (thanks to Crayola)

Black: coal, ebony, midnight, tar, ink, onxy, Outer Space (thanks to Crayola)

Share a few of your favorites.

~~SANDRA
HARM'S WAY

Larger Than Life Characters

Well it's my day to blog, it's almost midnight, and I got...nothing. In my defense, I forgot. I hope forgetfulness has nothing to do with middle age and everything to do with the fact that I have been in the writing zone for the past 24 hours.

Have you been there? I know you have. It's when all of a sudden story magic happens. You're fingers fly across the keyboard barely keeping up with the story pouring forth. Since 8:00 pm yesterday I've written 50 new pages. For me, that's a new record.

So, on to my Sparkle entry:

I flipped through Writing the Breakout Novel by Donald Maass. I love what he says about making your characters larger than life. Here is a quick check list of what he says is important. Next week, I'll expand on this idea. Meanwhile how do your characters compare?

Larger Than Life Character Traits.

Strong - Scarlet O'Hara. She had principles- we may not agree with them but we can admire her grit.

Inner conflict - think Jason Bourne - as he regains his memory he had great internal struggles with the man he was and the man he strives to be

A sense of self-regard - emotions should matter to your character, even if the emotion is hate or anger. Think Sawyer.

Wit and Spontaneity - do things ordinary folk wouldn't. What can your characters do that will have your other characters talking about it? Stephanie Plumb (need I say more)

What characters can you think of that fit the list? Until next time, happy writing in the zone.

Description and Imagery

Writers have an advantage over movie directors. While a camera’s lens can pick up dozens of details framed within a scene, the written word has the power to laser the reader’s focus on a precise object or the subtle nuance of a character’s behavior.

Vibrant, clear description is the first step to accessing the “reader’s eye”, that fully-realized state of total immersion in a story. The best descriptions consist of a few carefully chosen details that rise to the forefront of a scene as a representation of everything else. Descriptions should:

1. carry significance to the character or plot
2. contribute to the overall tone of the story
3. create a zone of authority—an imaginary contract of trust with the author where readers are eager to suspend disbelief though specific, accurate details

Description also allows the writer to control a story’s timing. Details bring a sense of importance to a scene. Major turning points, moments of emotional character growth or heightened conflict all benefit from the tension brought on by good description. Asking the reader to wait engages them on a far deeper level, provided the writer is able to walk the thin line between building suspense and tempting the reader to skip ahead.

Description and Character

Unless physical characteristics are vital to plot or characterization, descriptions of main characters should begin in the writer’s imagination, but finish in the reader’s. Some readers imagine themselves in the hero’s role, a magical connection to the story at risk when the writer repeatedly refers to physical characteristics completely different from those of the reader. Over-described protagonists freeze out the reader’s version. If the reader isn’t able to bring her experiences and ideals to the page, the main character remains at an emotional distance.

Minor characters, however, can benefit from more precise description. Writers don’t always have the story space to allow minor characters to become fully developed. Readers sorting through re-emerging periphery characters look for patterns of identifiable traits and behaviors. Descriptions of these characters are often more extreme and memorable because they’re not bound by the same codes of character the writer has established for the hero.

A character’s description should be in close proximity to his first introduction. A writer who delays physical details about a character risks tossing the reader out of the story world when he stumbles upon a description that reads nothing like what he envisioned for that character.

For more on how description translates into powerful imagery and practical tips on how to infuse your writing with sensory depth, read the rest of the article on my website.

_____________________________________________

How do you approach description?

I Love The Terminator, But Not the Tagline.

Save the Cat (a fantastic book on screenwriting by Blake Snyder) asks the question - "What is the screenplay/movie about? Can you describe it to a studio executive in one line?" (I'll post about this book next week). I started thinking about which movies sang to me. What sparkled? Which movies can I watch again and again, which books do I read over and over?

I love The Terminator by James Cameron. When the movie was released in 1984 I had no plans to watch, nope – not for me. But the somewhat-significant-other rented the video, he wanted to watch it. So we did and I loved it! If the somewhat-significant-other hadn't been interested in gunfire, I may never have seen the movie.

Why? I searched movie databases. I discovered I wasn't the target audience. The producers and distributors promoted an action movie with the tagline(s), “In the Year of Darkness, 2029, the rulers of this planet devised the ultimate plan. They would reshape the Future by changing the Past. The plan required something that felt no pity. No pain. No fear. Something unstoppable. They created 'THE TERMINATOR'” The movie trailer introduces the movie with the phrase, “In the future a weapon….it feels no pain, no remorse.”

So, was it an action movie? Yes. Time Travel – definitely, and I love the paradox of time travel. Did it carry a warning about war and nuclear holocaust? Yes. Was the description of the movie accurate? Pretty much even though I could have tightened it to read - "Machines rule the planet. They have one goal, exterminate the human race. They have the technology. Can mankind survive?"

But I still think this movie was about something else, something enduring - love. The Terminator is a love story, first and foremost. The release was a success, surprising everyone. If the tagline for the movie had been different, would it have garnered as large an audience? A smaller one? Would it have languished on a dusty shelf in a video store? And did the men watching this movie realize they were in thrall of a romance?

All of the above brings me to the following questions:

1) What is the movie, story about? What one line plot description would you have used?

2) What if The Terminator had been marketed differently? How would you describe the movie? Should we look at the way we package the romance genre and would that increase the reader base to include more men? Our books are often filled with action, time travel and mystery.

3) What made this movie sparkle? Did the movie sparkle for you?

For me the sparkle was the timeless, undying love of Kyle for Sarah. The scene that sticks in my mind is when Kyle tells Sarah, “I came through time for you, Sarah. I love you. I always have.” The film's love scene wasn't graphic (the violence was, the sex wasn't) but this scene was powerful. A brillant flash of sparkle came in the close-up of the clenching of their hands.

Please, tell me what you think? I'm eager for discussion and I can't wait to read your one line plot descriptions.

Game Time . . .

Verbs, at least strong verbs, should be a writer’s best friend.

To that end . . . let’s play a little verb game.

The following list contains two-verb pairs, which have similar meanings. The trick is to figure out the verbs. Why is that a trick? Because the first letter is missing from each pair of words.

And, hey, no cheating. Don't use word web or your friendly Thesaurus.

Feel free to leave your guesses under the comment section.

Oh, and I will post the correct answers, providing no one gets them all.

1) __mooth __ron

2) __hrow __itch

3) __lide __kate

4) __ack __leave

5) __avigate __aneuver

6) __inch __crimp

7) __urk __kulk

8) __ __ ow __ __ pand two letters are missing in each word.

Happy verbing!

~~Sandra
HARM'S WAY book-signing, August 25th, 2007
See Sandra’s blog for more information:

Lone Star Meanderings

Helpful hints for the writer

No groaning. Yes, it's another post about a book I read. I mean, it is what I do, besides writing.

The book this week is: 265 Troubleshooting Strategies for Writing Non-fiction by Barbara Fine Clouse. Although it's for the non-fiction writer, it has good tips for fiction writers, too. Since I've been writing and publishing in nonfiction for a few years now, first as a reporter and later as a freelancer, I know most of these. But there were a few that caught my attention. Such as:

No. 39 Write on a daily schedule. This is really, really important. Writing won't get done by thinking about it. And once you develop a schedule, i.e., a habit, it should be easier to put words to page.

No. 41 Write for yourself instead of the reader. Okay. I have fun doing this and so should every writer out there. As I've learned over the years, the work is it's own reward.

No. 102. Identify two changes that will improve your draft. Make the changes and then reread and see if the draft isn't better. You'll be surprised.

No. 109. Construct a reader profile. I like this one. I took it to mean creating a list of reader wants from a book. For example, if the book is paranormal romance, what do I, the reader, want from this book and each and every book, really? Come up with a checklist. Here's one I made...

What I want from a paranormal romance:
I want it to be dark. Full of sexual tension. I want tortured protagonists and high character arcs -- almost unredeemable characters, especially the hero. I want thrills, suspense, a very hard otherworldly feel to the book. I want the characters to be larger than life, stronger than ordinary people with paranormal "issues." I want a series and I want a happy ending. But not necessarily a resolution.

No. 132 Write a postdraft outline. Clouse suggests you'll be able to see any holes in your plot or events out of order.

Finding the Right Agent, Part 2

So, you've begun the search. You've sent out your initial round of queries to five or ten agents on your list. Now what?

Anything can happen once you put that parcel in the mail. It may be days. It could be months or even a year. Really. In any event, or for anything in between, you need to have a plan.

I'm talking about a business plan. Yes, I know you're a writer. But you're also Master of Your Own Destiny. No one has more to lose or gain than you do. If you haven't already written out a plan, now is the time to do so. It doesn't have to be incredibly detailed but it needs to lay out the next twelve months. Start thinking about the next five years, too.

I say this because you need to know the answers to these questions. (There will be a test!) You need to carefully consider the answers. Be realistic, but be honest. If you're set on becoming the next NYT Bestseller, you should be prepared with an agressive business plan. And you need to convey your plan to an agent. You need to be on the same page.

If you're very detailed, do some research on the publishing houses most likely to publish books like yours. Know who the senior editors are within the house and the authors they publish. You and your agent should be advocates for your book.

Here are some questions to ask an agent: Remember, this is an interview.
Do you use a contract?
What is your business style?
What's your communication style?
How many clients do you represent?
What genres do you represent?
What is your publishing background?
What kind of dissolution clause do you have?
What is the moratorium period should we decide to part ways?

There is also a great temptation, while waiting for "the call", to lose your mind. I'm convinced it's the constant state of anticipation. You've sent off what you consider a solid project and now find yourself euphoric at the possibilities. I recommend an attitude of cautious optimism. Dream big but remember, this is a business. Success doesn't happen overnight nor should it. Lest we, the great unwashed of publishing, decide you didn't earn it and send you to a time-out. (Just kidding.)

After you've laid out what you want to accomplish over the next twelve months, go back and pencil in "status checks" on the manuscript/s you've sent out. Make a chart of who/when/what. If it helps, use a poster board and color coded post-its or highlighters to help you keep track. Also set hard deadlines for the next round of queries. Yes, the NEXT round.

Agents have their own business plans. They have obligations to standing clients and deals to negotiate on projects waiting at publishing houses. Queries and partials from potential clients take a back seat. Yes, they're always looking for a new gem from the pile of submissions. But sales come first.

Here's where patience will come in handy. It's not unheard of for an EDITOR to take a year to review a submission. But for an agent to take a year? I think this practise is heinous. If you do too, then you need to set some rules for yourself. How long is too long? For a query? For a partial? For a full?

Yes, your dream agent takes 6 months. And you don't really mind waiting if it means representation. But if you send a status check email at six months and the agent ignores your request, do you really want to work with an agent that busy? How much of her time would you actually garner as the new kid on his/her block? Set yourself some rules and be prepared to move on.

And by moving on I mean sending out the next round of queries. Your plan should have hard deadlines for each new round. It could be thirty or sixty days for queries. Four to six months for partials. Six to eight months for a full. You decide.

If an agent asks for a full or an exclusive on a full, please be professional and upfront by letting them know if the full manuscript is at other agencies. It's way too early in your career to be burning any bridges. Who knows? You and your dream agent may not be so dreamy. Life happens. Plans change. Keep your options open.

Which takes us back to the 12-Month Plan. Never, never, never stop writing. By the end of your first year of submitting to agents, you should have another polished manuscript ready to be sent out.

In the event you still haven't procured representation (and I know plenty of great writers who took a couple or more years to find the right agent) then you will want to consider sitting down with an editor from your targeted publishing houses and pitching your book. Usually this means a conference.

There are two schools of thought on this (maybe more!). Agents want to be the one to submit work to editors. They've spent all this time establishing relationships. They know who's looking for what, etc. And it's hard to sell a manuscript that a writer has already shopped to every house in NY and been rejected.

But, if you've spent a year trying to find an agent, shown due dilegence without the payoff, there's no reason to let the manuscript gather dust if you can sell it yourself. Sometimes it's actually beneficial to finding an agent if they know your manuscript is sitting on an editors desk. You've already done some legwork. You're being pro-active in your career.

So, that's it for now on the topic. If you have any questions or would like more information, please contact me.

Until then . . . Sparkle on!

Sherry

How to write...Good

A few years ago, my brother sent these writing tips. I have no idea who the author is. Enjoy.

1. Avoid alliteration. Always
2. Prepositions are not words to end sentences with.
3. Avoid cliches like the plague. (They're old hat.)
4. Employ the vernacular.
5. Eschew ampersands & abbreviations, etc.
6. Parenthetical remarks (however relevant) are unnecessary.
7. It is wrong to ever split an infinitive.
8. Contractions aren't necessary.
9. Foreign words and phrases are not apropos.
10. One should never generalize.
11. Eliminate quotations. As Ralph Waldo Emerson said, "i hate quotations. Tell me what you know."
12. Comparisons are as bad as cliches.
13. Don't be redundant: don't use more words than necessary; it's superfluous.
14. Be more or less specific.
15. Understatement is always best.
16. One-word sentences? Eliminate.
17. Analogies in writing are like feathers on a snake.
18. The passive voice is to be avoided.
19. Go around the barn at high noon to avoid colloquialisms
20. Even if a mixed metaphor sings, it should be derailed.

Reviewer's and Promotional Sites

Since the release of my romantic suspense, HARM’S WAY, I’ve delved into the land of on-line promotions and review sites. The task can be time-consuming, but it’s crucial to making the most of this experience.

Do you have a book coming out soon?

Under contract?

Then you need to start the promotional parade now. Spend a portion of your limited Internet time finding and book-marking reviewer’s sites and promotional sites. These will be invaluable to you before and after your book is released.

Not every site will be right for your marketing approach or the genre of your book. Read the FAQ section of these sites to determine if this is the best place to advertise and promote your book.

I’ve included a few to get you started. I’ll be sure to pop back from time to time and update this list with more great review and promotional sites.

Take time and browse around these webpages. Several contain links to other locations that you may find writer friendly.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Night Owl Romance deals with the Romance and Erotic lines.

The Long & Short of It deals with long and short romance lines.

Cata Network reviews only Category Romance, but from this link access can be found to extension sites which deal with longer, or more specific genres.

Romantic Observer offers the opportunity to post excerpts and promotional material as well. Authors can also post other reviews on this site.

Romance At Heart offers review and promotional opportunities for many romance genres.

Insider Secrets

Quick matching game to get us started today. Match the NY Times Bestselling authors below with their best sparkle tip:

1) Suzanne Brockman
2) James Patterson
3) Nora Roberts

a) write each chapter as if it's your first
b) write dialogue heavy in the first draft, with minimal stage direction, to ensure pacing and characters will be just right.
c) for deep point of view, write scenes initially in first person.

Too easy? Maybe. Here's some more sparkle from Sophia Nash and Kathryn Caskie's Tricks of the Trade: Insider Secrets to Getting Published workshop, in which they asked over twenty five bestselling authors what it takes to get published, write a bestseller and stay published:

When writing romance, it's important to give the love story a life or death depth all the way through. Strive to capture a little of the desperation we all felt when we first fell in love.

Don't underestimate the importance of the reveal. Be sure to give the reader hints along the way, but craft important, plot changing arcs with the most impactful moments of revelation.

Characters emerge best through dialogue. Write dialogue-heavy first drafts and be prepared to cut one third of it in revisions.

Settings cannot be stagnate. Reveal setting only as your character reacts with it.

Answers to matching found in comments section. . .

Story Structure

Another insightful book I read in bits and pieces (mostly because it takes several passes before the information sinks in) is Robert McKee's Story. It's awesome. These are the things I've learned thus far about structure (taken straight from his book):

Book structure is a selection of events from the character's life, composed in strategic sequence to arouse emotion and express point of view.

A story event creates meaningful change in the life situation of the character and it is expressed in terms of a value.

Story values are the universal qualities of human experience that shift from positive to negative from one moment to the next. Such as life/death, love/hate, truth/lie, courage/cowardice, strength/wisdom, loyalty/betrayal, etc.

A story event creates meaningful change in the life of the characters through conflict. An event is measured by values and conflict forces the character to make a change.

You can have 40-60 or more story events in the book. These are the scenes.

In each scene, the writer has to decide what value is at stake in the character’s life? How is the value charged at the top of the scene? Positive or negative? If the value-charged condition of the character’s life stays the same from one end of the scene to the other, the scene is a nonevent and shouldn’t be there.

Mckee says: NO scene that doesn’t turn! Meaning: kill it, my darling.

A beat is an exchange of behavior couched in action/reaction. Beat by beat these changing behaviors shape the turning of a scene.

A sequence is a series of scenes – generally two to five – that culminate with a greater impact than any previous scene. The sequence has a greater value that overrides the values from the scenes.

Sequences turn in a more moderate, impactful way. A series of sequences builds the next larger structure, the act.

An act turns on a major reversal in the value charged condition of the character’s life. The difference between a scene, a scene that climaxes a sequence, and a scene that climaxes an act is the degree of change.

And finally, the story is simply one huge master event. The value charged condition of the character has changed at the end of the book, reversing the value charge from the beginning. The change is absolute and irreversible.

The story climax consists of a series of acts that build to the last act climax bringing about the irreversible change.

Finding The Right Agent

You've completed the manuscript and decided which market best fits your project. So, how do you find an agent? Better, how do you find the right agent?

There are only a couple of hard and fast rules about agents. If you want reputable representation, look for the *golden* AAR beside their name. This is a national association which requires member agents to abide by a code of ethics. Namely, no reading fees. Full disclosure in their dealings with editors/publishers on your behalf. Fair trade percentiles and a host of other rules. I suggest you look it up and become familiar with the edicts.


Agents, just like people, run the gamut of personality types and tastes. You have the well-established "I only take previously published NYT Bestsellers" to "I'm new. Just finished my apprenticeship. Looking to build a stable of authors and build my name" and the somewhere in the middle "I've been doing this for a while. I have a growing client base. I have a business plan and I know how to use it". They also have varying degrees of interaction. Hands-on. Editorial. Cheerleader/Counselor. "Don't call me unless it's an emergency of if you're going to miss your deadline." The point is, find the agent-style that works best for you.


Now, on to finding that elusive agent.


1. Word of Mouth-- cost $free
Start by asking your friends who are already represented about their agent. Chances are, they'll give you not only the rundown on their specific agent but the agents in the same house. Most writers are generous. Don't be too shy to ask questions like: What characteristics do you like best about your agent? What's your agent's communication style? (Prompt? Procrastinator?) How many clients does your agent currently represent?

Most importantly, you need to find out if the agency represents what you're selling. If not, there's no reason to waste the postage. Most agents are interested in building a name in a certain genre/genres. They've worked hard to establish contacts with particular houses and editors. So do yourself and them a favor--if they say they don't want Westerns and that's what you have-- mark them off your list of potential agents (at least for now, until they see the error of their ways. It happens!).

You can usually amass a great pool of potential agents you can contact with a query letter referencing their client and the good things you've heard about them/the agency.

2. Publisher's Marketplace - Online cost: $20 per month
If you don't have a critique group or a chapter full of agented writers, the next best thing is to sign up for Publisher's Marketplace. The online mag lists deals, daily or weekly. Be sure and focus on the agents who are selling books in your genre. You can search that agent through the online system and turn up anything the agent or their clients have reported as sales in the last five years (I recommend searching the last 12 months.)
*There is a possibility all the sales won't be reported. But I ask you, only a lazy agent wouldn't want their sales reported in Publisher's Marketplace. This is a tool to grow their name recognition and their client's name recognition. Who wouldn't want that?

Here, you simply preface your query with the good sales report you read in Publisher's Marketplace and congratulate them on a job well done. Then pitch your stuff and why you think they're the best person to represent the project. (Please note: the manuscript is not your "baby". It's a product. You want to sell it by which you will make yourself and your prospective agent fabulously wealthy. Get it?)

3. Conferences -- cost: $--$$$
Whether big or small, most conferences will pay the expense to have at least one editor/agent or more attend their conference. Some conferences are hugely expensive but yeild the greatest number of face-to-face meetings with potential agents. The downside is your time is usually around 8-10 minutes. Smaller conferences have fewer agents to choose from but you may have more time with the agent, dragging them around for dinner, picking up from the airport, etc. You get the picture.

4. Virtual Conferences -- cost: $free
This is a new one for me. Blogs are rampant! They're also a great insight into conferences you can't attend but where agents may be clamoring for books just like yours. (Yes, clamoring is a word.)Most bloggers use the "labels" function at the bottom of their post. Just google a specific conference and see who's posting. I've found a couple of potential agents this way.

Here, you begin your query with the "great things you heard coming out of the conference" or whatever brilliant one liner you think up. Just be sure and mention you heard the information where the agent attended such-n-such conference and mentioned they were looking for genre-x. Which you just happen to have!

There, not so hard. Just always be certain you're focused on what the agent represents and doesn't represent. And sit back and wait. Start the next book. The first question an agent wants to know is what else you have written (both completed and works in progress.)

How to interview a potential agent and what to do while you're waiting for those contacts/calls would be a great topic for next week. So I'll save it for next Wednesday.

Until then,
Happy Writing
Sherry