2010 was such a great year, we couldn't narrow things down to just one best for each category (music, books, and movies). So here's what we marked as favorites that were released in 2010... and even that was tough, lemme tell ya.
BOOKS:
Joe's picks:
The Chaos Walking trilogy by Patrick Ness. Only the third book was released in 2010, but he read the entire series this year and loved every bit of it.
MONSTERS OF MEN
Lydia's picks:
BEFORE I FALL, Lauren Oliver
THE IRON KING, Julie Kagawa
THE IRON DAUGHTER, Julie Kagawa
BLUE FIRE, Janice Hardy
LOSING FAITH, Denise Jaden
MOVIES:
Joe's picks:
INCEPTION
IRON MAN 2
Lydia's picks:
Same as Joe's, plus...
HOW TO TRAIN YOUR DRAGON
MUSIC:
Joe's picks:
"Sleep Well My Angel" - We Are The Fallen
"Awake and Alive" - Skillet
"Maybe" - Sick Puppies
Lydia's picks:
"Jar of Hearts" - Christina Perri
"The Only Exception" - Paramore
"Love the Way You Lie" - Eminem & Rihanna
What a year! Can't wait to see what 2011 has in store. Catch you all on the flip side.
~Lydia
Friday, December 31, 2010
Wednesday, December 29, 2010
Re-Post: The (Not So) Perfect Protagonist
originally aired on September 25, 2009
As fiction writers, we live in a fantasy world. Everything is perfect in fantasies, right? That's okay if said fantasy never leaves your head, but if you want to write a compelling story that readers can connect with, you'd better bang some dents in your characters' cake pans.
Yesterday, literary agent Rachelle Gardner posted about the difference between a PROactive main character and a REactive one. All characters will react, in one way or another, to what happens to them. However, a good protagonist (and a good ANtagonist, too, if the antagonist is a person) will take it a step further and make things happen.
This isn't always what's best for the character, but it's perfect for the story, as Rachelle brought out with the example of Scarlett O'Hara. Aside from the fact that she's one of my all-time favorite female protagonists, she proves a good point. Miss O'Hara didn't always make good choices. In fact, most of the time, she was stubborn, selfish, whiny, irrational, and impulsive, among other things, and made situations worse by her actions. But, in her mind, she thought she was doing what was necessary to survive some very trying times in her life. Isn't that what all of us are doing from day to day? Thus, we can connect with her on a certain level, even though we want to smack some sense into her half of the time, and the other half of the time, we just want her to shut up and kiss Rhett. Either way, we're still hooked on her story.
It's been said that characters are plot, and a good plot is driven by proactive characters with seemingly more faults than strengths. A plot is made-up of events, and a good protagonist puts those events in motion. On purpose. So how do you, as the writer, create that beautiful harmony?
1) Take your perfect protagonist and set him/her
on a cinder block.
2) Go to the shed and get a sledgehammer.
3) Bang the hell out of your character.
4) Repeat as necessary, or just for fun.
That's pretty much it … okay, I lied … there's more to it than that. Outer flaws (physical) affect the inner person: how they react emotionally. Inner flaws (personality) affect the outer person: how they react kinetically. A believable main character has a good mix of both. Notice I didn't say a balance of both, just a mix. Inner flaws should, in my opinion, outweigh the outer flaws, unless your story focus is specifically about how to deal with those physical issues.
Whatever happens to your protagonist will cause a reaction, but what he/she does next is what keeps the reader reading. Here's the simplest example I can think of:
Someone smacks your character across the face with or without being provoked. What does your character do? One of three things:
1) Turn the other cheek.
2) Cry and run away.
3) Smack right back, or worse.
All three of those reactions are very telling of character.
Going back to the example of Scarlett O'Hara for a moment, how many times did she marry for money? How did that affect her actions and decisions later? How many times did she encounter death? She reacted differently to each scenario. How did that affect her actions and decisions later? The plot of Gone With the Wind doesn't have a leg to stand on without the proactive decisions and actions of Scarlett, even though, most of the time, she made bad choices.
Read that again: She made bad choices.
That wonderful imperfection is where a compelling story comes from. One thing leads to another, leads to another, leads to another. And at the heart of it all is your banged up protagonist, putting the events in motion, for better or for worse.
~Lydia
As fiction writers, we live in a fantasy world. Everything is perfect in fantasies, right? That's okay if said fantasy never leaves your head, but if you want to write a compelling story that readers can connect with, you'd better bang some dents in your characters' cake pans.
Yesterday, literary agent Rachelle Gardner posted about the difference between a PROactive main character and a REactive one. All characters will react, in one way or another, to what happens to them. However, a good protagonist (and a good ANtagonist, too, if the antagonist is a person) will take it a step further and make things happen.
This isn't always what's best for the character, but it's perfect for the story, as Rachelle brought out with the example of Scarlett O'Hara. Aside from the fact that she's one of my all-time favorite female protagonists, she proves a good point. Miss O'Hara didn't always make good choices. In fact, most of the time, she was stubborn, selfish, whiny, irrational, and impulsive, among other things, and made situations worse by her actions. But, in her mind, she thought she was doing what was necessary to survive some very trying times in her life. Isn't that what all of us are doing from day to day? Thus, we can connect with her on a certain level, even though we want to smack some sense into her half of the time, and the other half of the time, we just want her to shut up and kiss Rhett. Either way, we're still hooked on her story.
It's been said that characters are plot, and a good plot is driven by proactive characters with seemingly more faults than strengths. A plot is made-up of events, and a good protagonist puts those events in motion. On purpose. So how do you, as the writer, create that beautiful harmony?
1) Take your perfect protagonist and set him/her
on a cinder block.
2) Go to the shed and get a sledgehammer.
3) Bang the hell out of your character.
4) Repeat as necessary, or just for fun.
That's pretty much it … okay, I lied … there's more to it than that. Outer flaws (physical) affect the inner person: how they react emotionally. Inner flaws (personality) affect the outer person: how they react kinetically. A believable main character has a good mix of both. Notice I didn't say a balance of both, just a mix. Inner flaws should, in my opinion, outweigh the outer flaws, unless your story focus is specifically about how to deal with those physical issues.
Whatever happens to your protagonist will cause a reaction, but what he/she does next is what keeps the reader reading. Here's the simplest example I can think of:
Someone smacks your character across the face with or without being provoked. What does your character do? One of three things:
1) Turn the other cheek.
2) Cry and run away.
3) Smack right back, or worse.
All three of those reactions are very telling of character.
Going back to the example of Scarlett O'Hara for a moment, how many times did she marry for money? How did that affect her actions and decisions later? How many times did she encounter death? She reacted differently to each scenario. How did that affect her actions and decisions later? The plot of Gone With the Wind doesn't have a leg to stand on without the proactive decisions and actions of Scarlett, even though, most of the time, she made bad choices.
Read that again: She made bad choices.
That wonderful imperfection is where a compelling story comes from. One thing leads to another, leads to another, leads to another. And at the heart of it all is your banged up protagonist, putting the events in motion, for better or for worse.
~Lydia
Monday, December 27, 2010
Re-Post: Our Inescapable Culture
This post originally aired on December 21, 2009, when the world was still very much in the thick of the Twilight saga. If you're looking for writing tips today, look elsewhere. But if you want a good laugh (at my expense) you've come to the right place. I'd forgotten how much this series had affected me. It really was quite traumatic.
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RE-POST: OUR INESCAPABLE CULTURE
Our culture affects us whether we want it to or not. Twilight (I just heard a symphony of e-groans) is everywhere. Personally, I have yet to read any of the books in the series or watch either of the two movies that have been released. The story simply doesn't interest me. I've never been a fan of vampire stuff. Remember the insanely popular Interview with the Vampire, based on the Anne Rice novel? The movie kicked off Kirsten Dunst's career, and people went gaga over the fact that Tom Cruise and Brad Pitt were in the same film. If you're too young to remember that, honestly, you're better off. It was silly.
As is the hype over Twilight. But unfortunately, it's not going away anytime soon.
I'm bombarded by it everywhere I go ... Borders (New Moon display right by the front door!), Wal-Mart (posters, books, magazines, t-shirts!), my Yahoo! home page (Edward and Bella were seen together, oh my!) and now, my dreams. Or is that more appropriately referred to as a nightmare?
I had a dream about Twilight last night. Well, not really so much about Twilight as it was about the actors in the movies. Specifically, Edward, Bella, and Jacob. That I even know their (fake) names without ever reading/ viewing anything is proof enough of our inesapable culture. That, and the fact that I had a dream/ nightmare about it. *shudders*
It went something like this: I was in high school again (so right away, I knew this was a bad dream), innocently meandering down the crowded halls and Bella shows up, all out of breath and frantic. I'm like, "What's wrong?" because for some reason, I think I have to help her.
She says, "I have to hide." And of course, I accept that as an answer without any type of explanation because this is a dream, and dreams make no sense.
I take her hand and we run out of the school, and within a few paces (because again, it's a dream) we arrive at a huge scary-looking mansion typical of a vampire tale. At least, in my mind it is. We're running up and down the endless stairs and bump into Jacob. All of the sudden, Bella disappears. Why? Because my defunct sleeping brain transferred me into her persona. I AM NOW BELLA. ARGH! Even in my dream, I groaned at this realization, but I didn't have much time for self-loathing because Jacob took my hand, insisting that I had to hide from Edward.
Yes, now I have to hide because I'm Bella. Why are we running/hiding from Edward? Still have no clue, but I bet it had something to do with his foo-foo hair and skeletal appearance.
We ran for a few more minutes, getting absolutely nowhere, passing all manner of nooks and crannies that I reasonably could have hidden in, but didn't, and then we find Edward. I stopped dead in my tracks (this story is not worth coming up with something more original than the cliche), and then JACOB DISAPPEARED. So now it's just me (Bella) against a half-naked Edward. Which half? He was shirtless, and all his ribs were showing and his hip bones were sticking out above his low-rise jeans.
So what did I do? I ran toward him, hooked my hand on a hip bone as I passed, and flung his spindly body out the nearest window. He screamed like a girl (no surprise), and then I woke up.
I am still singing praises that the whole experience was merely a dream/ nightmare. What's the point of this story? You can't escape your culture ... the good, the bad, and (especially!) the ugly ... and Twilight has officially ventured where it had no business going--my vulnerable subconscious. Get out of my head!
~Lydia
ADDENDUM:
HOLY CRAP YOU HAVE TO WATCH THIS IT'S HILARIOUS!
"WHO SHUT THAT?!"
(OMG STOMACH CRAMP. MUST LOOK AWAY.)
-----
RE-POST: OUR INESCAPABLE CULTURE
Our culture affects us whether we want it to or not. Twilight (I just heard a symphony of e-groans) is everywhere. Personally, I have yet to read any of the books in the series or watch either of the two movies that have been released. The story simply doesn't interest me. I've never been a fan of vampire stuff. Remember the insanely popular Interview with the Vampire, based on the Anne Rice novel? The movie kicked off Kirsten Dunst's career, and people went gaga over the fact that Tom Cruise and Brad Pitt were in the same film. If you're too young to remember that, honestly, you're better off. It was silly.
As is the hype over Twilight. But unfortunately, it's not going away anytime soon.
I'm bombarded by it everywhere I go ... Borders (New Moon display right by the front door!), Wal-Mart (posters, books, magazines, t-shirts!), my Yahoo! home page (Edward and Bella were seen together, oh my!) and now, my dreams. Or is that more appropriately referred to as a nightmare?
I had a dream about Twilight last night. Well, not really so much about Twilight as it was about the actors in the movies. Specifically, Edward, Bella, and Jacob. That I even know their (fake) names without ever reading/ viewing anything is proof enough of our inesapable culture. That, and the fact that I had a dream/ nightmare about it. *shudders*
It went something like this: I was in high school again (so right away, I knew this was a bad dream), innocently meandering down the crowded halls and Bella shows up, all out of breath and frantic. I'm like, "What's wrong?" because for some reason, I think I have to help her.
She says, "I have to hide." And of course, I accept that as an answer without any type of explanation because this is a dream, and dreams make no sense.
I take her hand and we run out of the school, and within a few paces (because again, it's a dream) we arrive at a huge scary-looking mansion typical of a vampire tale. At least, in my mind it is. We're running up and down the endless stairs and bump into Jacob. All of the sudden, Bella disappears. Why? Because my defunct sleeping brain transferred me into her persona. I AM NOW BELLA. ARGH! Even in my dream, I groaned at this realization, but I didn't have much time for self-loathing because Jacob took my hand, insisting that I had to hide from Edward.
Yes, now I have to hide because I'm Bella. Why are we running/hiding from Edward? Still have no clue, but I bet it had something to do with his foo-foo hair and skeletal appearance.
We ran for a few more minutes, getting absolutely nowhere, passing all manner of nooks and crannies that I reasonably could have hidden in, but didn't, and then we find Edward. I stopped dead in my tracks (this story is not worth coming up with something more original than the cliche), and then JACOB DISAPPEARED. So now it's just me (Bella) against a half-naked Edward. Which half? He was shirtless, and all his ribs were showing and his hip bones were sticking out above his low-rise jeans.
So what did I do? I ran toward him, hooked my hand on a hip bone as I passed, and flung his spindly body out the nearest window. He screamed like a girl (no surprise), and then I woke up.
I am still singing praises that the whole experience was merely a dream/ nightmare. What's the point of this story? You can't escape your culture ... the good, the bad, and (especially!) the ugly ... and Twilight has officially ventured where it had no business going--my vulnerable subconscious. Get out of my head!
~Lydia
ADDENDUM:
HOLY CRAP YOU HAVE TO WATCH THIS IT'S HILARIOUS!
"WHO SHUT THAT?!"
(OMG STOMACH CRAMP. MUST LOOK AWAY.)
Sunday, December 26, 2010
Final Book Review Round-Up of 2010 (and a Slew of Regrets)
Here are the book reviews Joe and I wrote in November and December, in case you missed them. (note: to prevent that from happening, you can follow The Book Book blog, or follow me on twitter, or both.)
POSITIVELY by Courtney Sheinmel (this book has also been added to my list of recommended teen reads, see tab above for details)
THE KNIFE OF NEVER LETTING GO by Patrick Ness
FREEFALL by Mindi Scott
LOSING FAITH by Denise Jaden
And now for the regrets...
There are a TON of books in my reading pile that I wanted to read and review before the end of the year, and it's pretty clear now that's not going to happen. But I thought I'd share some of those books with you, anyway. Fortunately, I don't think there are huge amounts of releases in January, so I can (somewhat) catch up before the surge of 2011 releases begins in February. I am vowing, right here and now, to not fall so behind in the new year.
FIXING DELILAH by Sarah Ockler (currently reading, but won't likely finish and review by the end of the week)
REVOLUTION by Jennifer Donnelly (I actually started this book in November for our local YA book club, but only got to page 185 by the time we met to discuss. I've been stuck on that page ever since. Which is sad, because it's been an excellent read so far. I just lost my motivation to move forward now that I know how it ends. *le sigh*)
THE MOCKINGBIRDS by Daisy Whitney
FALL FOR ANYTHING by Courtney Summers
THE SKY IS EVERYWHERE by Jandy Nelson (started this one back in October, absolutely loved it, but personal circumstances forced me to return it to the library before I'd finished, and then... yanno... I never got back to it? *another le sigh*)
MATCHED by Ally Condie (own a copy, just haven't started it yet)
TELL ME A SECRET by Holly Cupala
MY INVENTED LIFE by Lauren Bjorkman (currently have a library copy on hand, just haven't started it yet)
MOSTLY GOOD GIRLS by Leila Sales
CRASH INTO ME by Albert Borris
PLEASE IGNORE VERA DIETZ by A.S. King
SPIN by Catherine McKenzie
THE MARBURY LENS by Andrew Smith
HATING OLIVIA by Mark SaFranko (received a free copy from the publisher, and started it, just haven't finished it yet)
ANNA AND THE FRENCH KISS by Stephanie Perkins (recently found out this is our book club pick for January, so it will be read soon)
The above is by no means a complete list, just the ones that I really really regret not getting to and/or finishing this past year. If I showed you my entire TBR pile, you might just faint. (Seriously. It's gargantuan.)
Happy Reading,
~Lydia
POSITIVELY by Courtney Sheinmel (this book has also been added to my list of recommended teen reads, see tab above for details)
THE KNIFE OF NEVER LETTING GO by Patrick Ness
FREEFALL by Mindi Scott
LOSING FAITH by Denise Jaden
And now for the regrets...
There are a TON of books in my reading pile that I wanted to read and review before the end of the year, and it's pretty clear now that's not going to happen. But I thought I'd share some of those books with you, anyway. Fortunately, I don't think there are huge amounts of releases in January, so I can (somewhat) catch up before the surge of 2011 releases begins in February. I am vowing, right here and now, to not fall so behind in the new year.
FIXING DELILAH by Sarah Ockler (currently reading, but won't likely finish and review by the end of the week)
REVOLUTION by Jennifer Donnelly (I actually started this book in November for our local YA book club, but only got to page 185 by the time we met to discuss. I've been stuck on that page ever since. Which is sad, because it's been an excellent read so far. I just lost my motivation to move forward now that I know how it ends. *le sigh*)
THE MOCKINGBIRDS by Daisy Whitney
FALL FOR ANYTHING by Courtney Summers
THE SKY IS EVERYWHERE by Jandy Nelson (started this one back in October, absolutely loved it, but personal circumstances forced me to return it to the library before I'd finished, and then... yanno... I never got back to it? *another le sigh*)
MATCHED by Ally Condie (own a copy, just haven't started it yet)
TELL ME A SECRET by Holly Cupala
MY INVENTED LIFE by Lauren Bjorkman (currently have a library copy on hand, just haven't started it yet)
MOSTLY GOOD GIRLS by Leila Sales
CRASH INTO ME by Albert Borris
PLEASE IGNORE VERA DIETZ by A.S. King
SPIN by Catherine McKenzie
THE MARBURY LENS by Andrew Smith
HATING OLIVIA by Mark SaFranko (received a free copy from the publisher, and started it, just haven't finished it yet)
ANNA AND THE FRENCH KISS by Stephanie Perkins (recently found out this is our book club pick for January, so it will be read soon)
The above is by no means a complete list, just the ones that I really really regret not getting to and/or finishing this past year. If I showed you my entire TBR pile, you might just faint. (Seriously. It's gargantuan.)
Happy Reading,
~Lydia
Thursday, December 23, 2010
Movie Recommendations From Little Joe
(This is our final post until Monday!)
Little Joe wanted you all to know what movies he's been enjoying on his break from school. In no particular order...
LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE
Great story and stellar animation/artwork. 5 of 5 stars.
DESPICABLE ME
Side-splitting hilarity. 5 of 5 stars.
THE CHRONICLES OF NARNIA: PRINCE CASPIAN
Weird creatures and lots of fight scenes. What's not to love? 5 of 5 stars.
MARY POPPINS
A classic he has just recently discovered. He's got the chimney sweep rooftop dance routine down to a science. (That's definitely my boy. Already preparing for his stardom on Broadway.) 5 of 5 stars.
Have you seen any movies lately worth recommending?
~Lydia
Little Joe wanted you all to know what movies he's been enjoying on his break from school. In no particular order...
LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE
Great story and stellar animation/artwork. 5 of 5 stars.
DESPICABLE ME
Side-splitting hilarity. 5 of 5 stars.
THE CHRONICLES OF NARNIA: PRINCE CASPIAN
Weird creatures and lots of fight scenes. What's not to love? 5 of 5 stars.
MARY POPPINS
A classic he has just recently discovered. He's got the chimney sweep rooftop dance routine down to a science. (That's definitely my boy. Already preparing for his stardom on Broadway.) 5 of 5 stars.
Have you seen any movies lately worth recommending?
~Lydia
Wednesday, December 22, 2010
Re-Post: Learning From A Lycan
originally aired on July 27, 2009
Whenever I watch a movie, it makes me think about my writing. I watch for enjoyment, but I also find myself picking things apart. Good storytelling has many intricate elements, and movies are no exception.
Joe and I recently rented Underworld: Rise of the Lycans. This is one of the few movies that we had splurged on to see in the theater as well. Totally worth it.
But this post is not a review (although this particular movie wouldn't be a bad choice). Something jumped out at me while we were watching: DIALOGUE.
Well duh, Lydia, of course you notice dialogue when you watch a movie. Movies are nothing but dialogue and action. And since everything is viewed externally, you can't get into a character's head like you do in a book.
Or can you?
Character motivation is what drives any story. In writing, a character's statement of motivation needs to be clear early on, and it needs to be repeated throughout. In Rise of the Lycans, Lucian's character does this very well. The dialogue is superb. We see what his motivation is, we see what his goal is. Not only that, we want him to succeed because we can see that his motivations are not purely selfish, and we can relate to his natural need to be treated decently.
This is what makes Lucian's character stand out, aside from his awesome abilities as a werewolf. To demonstrate my point clearly, here is my favorite snippet of his dialogue. He is collared and caged, surrounded by his Lycan brethren:
His self-concept is clear. His goal is clear. Tell me that doesn't get your heart pounding. As writers, don't underestimate the power of a few good lines of dialogue. It's one of the best ways to show your character's inner thoughts.
And his closing line proves another point not to be overlooked. Lucian had no control over the situation he was in, but he took control. Characters that readers/viewers fall in love with are proactive. They don't sit back and let things happen to them, they make things happen.
Final word: If you haven't seen the movie yet, and you can stomach a bit of blood, rent it today. For my fellow writers, think of it as (really bad-ass) research.
~Lydia
Whenever I watch a movie, it makes me think about my writing. I watch for enjoyment, but I also find myself picking things apart. Good storytelling has many intricate elements, and movies are no exception.
Joe and I recently rented Underworld: Rise of the Lycans. This is one of the few movies that we had splurged on to see in the theater as well. Totally worth it.
But this post is not a review (although this particular movie wouldn't be a bad choice). Something jumped out at me while we were watching: DIALOGUE.
Well duh, Lydia, of course you notice dialogue when you watch a movie. Movies are nothing but dialogue and action. And since everything is viewed externally, you can't get into a character's head like you do in a book.
Or can you?
Character motivation is what drives any story. In writing, a character's statement of motivation needs to be clear early on, and it needs to be repeated throughout. In Rise of the Lycans, Lucian's character does this very well. The dialogue is superb. We see what his motivation is, we see what his goal is. Not only that, we want him to succeed because we can see that his motivations are not purely selfish, and we can relate to his natural need to be treated decently.
This is what makes Lucian's character stand out, aside from his awesome abilities as a werewolf. To demonstrate my point clearly, here is my favorite snippet of his dialogue. He is collared and caged, surrounded by his Lycan brethren:
"We are not animals. Is this what you want, to be their entertainment, their playthings? Their pets. Cowering beneath the whip . . . and then fighting amongst ourselves!
Is this what you want!
I have lived by their rules my entire life. I've protected them . . . envied them. And for what? To be treated like an animal. We are not animals!
We do have a choice. We can choose to be more than this. We can be slaves, or we can be Lycans!"
His self-concept is clear. His goal is clear. Tell me that doesn't get your heart pounding. As writers, don't underestimate the power of a few good lines of dialogue. It's one of the best ways to show your character's inner thoughts.
And his closing line proves another point not to be overlooked. Lucian had no control over the situation he was in, but he took control. Characters that readers/viewers fall in love with are proactive. They don't sit back and let things happen to them, they make things happen.
Final word: If you haven't seen the movie yet, and you can stomach a bit of blood, rent it today. For my fellow writers, think of it as (really bad-ass) research.
~Lydia
Monday, December 20, 2010
Re-Post: Rule Breakers
For the next two weeks, instead of falling into complete silence here at The Sharp Angle, I've dug up some old posts worthy of re-publishing. Some of you may remember these. And if you're new here (which many of you are, and I am eternally thankful to all of you who continue to "publicize" our blog through linkage and bring in new readers), then it's like a new post for you anyway. So it should be good all around.
As if I could really keep my mouth shut for two full weeks even if I tried...
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RULE BREAKERS
first aired on January 6, 2010
What is a rule that we really need to follow (as writers) and what is just a suggestion? Many new writers are understandably frustrated because they read well-intentioned advice that just confuses the hell out of them.
There is no way I can cover everything in this post, so if I miss something that you feel is important PLEASE add it to the comments. I'm going to go through some common "rules" that I've seen, and hopefully debunk a few myths in the process. Much of this is going to cover the STYLISTIC side of writing, not the TECHNICAL side of writing. Because on the technical side of things, there are many, MANY rules that you do have to follow. That is best left for another post all its own.
First and foremost, it is my OPINION that there is truly only one rule: Keep readers reading. Whatever you can do to make that happen is well within accepted standards. And NO, you don't have to have five or so novels published already before you can start doing this.
Janice Hardy said it very well in her post 10 Things To Remember If You Want To Be A Published Writer:
"There’s a lot of information out there about how to write, what makes a good plot, the rules that “must never be broken.” Truth is, all rules can be broken in the right situation, and if it works, it works. Forcing your story to a set of rules because “everyone says so” might not be the best thing for your story. "
Now, that being said, she also makes some good points on how to be smart about this. I highly recommend reading that entire post, and pay particular attention to numbers 6, 7, & 8.
However, there are plenty of debut novelists who have supposedly committed one of the cardinal sins of writing. Notice I said DEBUT novelists, meaning, that is their first novel in print. No, you do not have to already be successful to pull off certain techniques. It works because it keeps the reader reading, and it works whether it's your first novel or your tenth.
Common Advice Given to New Writers (if anyone is wondering how I know this ... although I don't truly consider myself a professional yet, I do a lot of research, reading, applying, practice, and I work with new writers ON A DAILY BASIS, so I see the common frustration, the common questions, the common complaints, etc.)
1) Don't start with dialogue. This has become a generalized "rule" because most writers who try this, cannot pull it off. Starting with dialogue is risky because the reader has no idea who is speaking, who they are speaking to, where these people are, or anything about their story. Reader confusion = BAD. However, if the dialogue can catch the reader's attention so as to make their confusion a secondary thought, then it serves as an effective hook. In this instance, though, what comes AFTER the dialogue has to be even more spectacular than the dialogue you're starting with, and this is why most new writers are simply told, "Don't do it."
2) Too much description or an "info dump" will lose the reader's interest. Usually, yes, this is true. How do you pull it off? That's simple (not really). Keep the tension high within the exposition. Yeah ... um ... that's one of the most difficult things to do, especially if you don't even know what I mean by "tension." However, it CAN be done. One of my favorite novels of all time has a five page info dump about the history of certain planets right smack dab in the middle of a scene. Did it pull me away? Did I forget what was going on because I was thrust into a history lesson? Did I STOP reading? No, no, and NO. But again, this is not something that most new writers can effectively carry out, so they are simply told, "Don't do it."
3) A sentence should not be so long that it takes up an entire paragraph on its own. Okay, I can't help but laugh when I think about this one, because I see it in published novels ALL THE TIME. Why are new writers told this? Because most new writers have no clue about proper grammar and/or punctuation. NO CLUE. The number one question I see regarding this is: HOW DO I KNOW WHEN TO USE A SEMICOLON? And rather than teach them how to structure a sentence correctly, I guess it's easier to simply say, "Don't do it."
4) Start with action. This kind of goes along with number two. More appropriate would be to say, start with TENSION, and then keep the tension going. When new writers see, start with ACTION, they think every novel has to start with physical combat of some sort. Not the case. In fact, most novels don't. However, I guarantee you, every one of them creates tension from the very first paragraph.
Here is an example: The Road by Cormac McCarthy. (Click HERE to read the first few pages on Amazon) No, not his debut novel, but let's get it out of our heads that just because an author has had previous success, that means they can do whatever they want. Each novel an author writes must be stellar or they will lose readers and, eventually, their success will fizzle out.
The first few pages of The Road consist of large blocks of text, minimal physical action, almost zero dialogue, proportionately more TELLING than SHOWING (that is a can of worms too large to get into in this post), and yet ... I read through those pages quickly. The tension is high. It is compelling. I find myself concerned for a character and I don't even know his name.
And if you think my opinion is worth diddly squat (which it may be), then I'll take this opportunity to mention that The Road won the Pulitzer Prize for Fiction, the James Tait Memorial Prize for Fiction, was a finalist for the National Book Critics Circle Award, was named the best book of the last 25 years by Entertainment Weekly, was an Oprah's Book Club pick, and the best-selling trade paperback novel in the year of its reprint.* Nothing to sneeze at.
Don't get me wrong, there are some definite rules out there that must be followed, but many that are being presented as rules are, in fact, merely suggestions that have been generalized. The best advice you can get from anyone is individualized to your specific work.
So go ahead and break the "rules" as long as you stick to this: Keep readers reading.
~Lydia
JOE'S TAKE ON THIS TOPIC:
People use the, "once you're a professional" line to prove a few different viewpoints, often conflicting. The most common purposes are new writers that don't feel like fixing their grammar and people that like to look down on others because they don't write in the boring vanilla flavor that they feel should be used.
Here's the deal. Professional writers do not get published and then start slopping ink onto a page with a paint roller and send it off to the publisher from there on out. Unless it's about vampires.
Do editors miss things that the writers themselves missed? Yes. Grammatical errors? Yes. Do some, sadly, phone in their next novel? Yes. Are there exceptions to any norm? Yes. And yes, yes, yes, and yes, blah blah, blllllllah. Always exceptions.
You need to learn how to be both a writer and reader. If you are using it as an excuse not to correct actual mistakes, then shaddup and brush up on yer technique. Baseball players don't fight through the minors just for the privilege of striking out whenever they feel like it in the majors. Not how it works.
On the other hand, if you're just trying to stifle someone else's style, then you're also wrong. Especially in my main genres, military sci-fi and nonfiction, there are a plethora of unique styles. John Ringo quickly rose into the top echelon of sci-fi writers in the last decade and he uses all kinds of technique that are not standard fare. The dude will occasionally use narrative interjectives in the middle of dialogue--instead of tags! Not right! Not right, I say!!!
As long as it is not grammatically incorrect, is it wrong? No. But then again, I'm not a professional. Curse that whole common sense thing.
---
* Stats for The Road taken from The Fire In Fiction by Donald Maass, p. 18 (Writer's Digest Books, 2009)
As if I could really keep my mouth shut for two full weeks even if I tried...
-----
RULE BREAKERS
first aired on January 6, 2010
What is a rule that we really need to follow (as writers) and what is just a suggestion? Many new writers are understandably frustrated because they read well-intentioned advice that just confuses the hell out of them.
There is no way I can cover everything in this post, so if I miss something that you feel is important PLEASE add it to the comments. I'm going to go through some common "rules" that I've seen, and hopefully debunk a few myths in the process. Much of this is going to cover the STYLISTIC side of writing, not the TECHNICAL side of writing. Because on the technical side of things, there are many, MANY rules that you do have to follow. That is best left for another post all its own.
First and foremost, it is my OPINION that there is truly only one rule: Keep readers reading. Whatever you can do to make that happen is well within accepted standards. And NO, you don't have to have five or so novels published already before you can start doing this.
Janice Hardy said it very well in her post 10 Things To Remember If You Want To Be A Published Writer:
"There’s a lot of information out there about how to write, what makes a good plot, the rules that “must never be broken.” Truth is, all rules can be broken in the right situation, and if it works, it works. Forcing your story to a set of rules because “everyone says so” might not be the best thing for your story. "
Now, that being said, she also makes some good points on how to be smart about this. I highly recommend reading that entire post, and pay particular attention to numbers 6, 7, & 8.
However, there are plenty of debut novelists who have supposedly committed one of the cardinal sins of writing. Notice I said DEBUT novelists, meaning, that is their first novel in print. No, you do not have to already be successful to pull off certain techniques. It works because it keeps the reader reading, and it works whether it's your first novel or your tenth.
Common Advice Given to New Writers (if anyone is wondering how I know this ... although I don't truly consider myself a professional yet, I do a lot of research, reading, applying, practice, and I work with new writers ON A DAILY BASIS, so I see the common frustration, the common questions, the common complaints, etc.)
1) Don't start with dialogue. This has become a generalized "rule" because most writers who try this, cannot pull it off. Starting with dialogue is risky because the reader has no idea who is speaking, who they are speaking to, where these people are, or anything about their story. Reader confusion = BAD. However, if the dialogue can catch the reader's attention so as to make their confusion a secondary thought, then it serves as an effective hook. In this instance, though, what comes AFTER the dialogue has to be even more spectacular than the dialogue you're starting with, and this is why most new writers are simply told, "Don't do it."
2) Too much description or an "info dump" will lose the reader's interest. Usually, yes, this is true. How do you pull it off? That's simple (not really). Keep the tension high within the exposition. Yeah ... um ... that's one of the most difficult things to do, especially if you don't even know what I mean by "tension." However, it CAN be done. One of my favorite novels of all time has a five page info dump about the history of certain planets right smack dab in the middle of a scene. Did it pull me away? Did I forget what was going on because I was thrust into a history lesson? Did I STOP reading? No, no, and NO. But again, this is not something that most new writers can effectively carry out, so they are simply told, "Don't do it."
3) A sentence should not be so long that it takes up an entire paragraph on its own. Okay, I can't help but laugh when I think about this one, because I see it in published novels ALL THE TIME. Why are new writers told this? Because most new writers have no clue about proper grammar and/or punctuation. NO CLUE. The number one question I see regarding this is: HOW DO I KNOW WHEN TO USE A SEMICOLON? And rather than teach them how to structure a sentence correctly, I guess it's easier to simply say, "Don't do it."
4) Start with action. This kind of goes along with number two. More appropriate would be to say, start with TENSION, and then keep the tension going. When new writers see, start with ACTION, they think every novel has to start with physical combat of some sort. Not the case. In fact, most novels don't. However, I guarantee you, every one of them creates tension from the very first paragraph.
Here is an example: The Road by Cormac McCarthy. (Click HERE to read the first few pages on Amazon) No, not his debut novel, but let's get it out of our heads that just because an author has had previous success, that means they can do whatever they want. Each novel an author writes must be stellar or they will lose readers and, eventually, their success will fizzle out.
The first few pages of The Road consist of large blocks of text, minimal physical action, almost zero dialogue, proportionately more TELLING than SHOWING (that is a can of worms too large to get into in this post), and yet ... I read through those pages quickly. The tension is high. It is compelling. I find myself concerned for a character and I don't even know his name.
And if you think my opinion is worth diddly squat (which it may be), then I'll take this opportunity to mention that The Road won the Pulitzer Prize for Fiction, the James Tait Memorial Prize for Fiction, was a finalist for the National Book Critics Circle Award, was named the best book of the last 25 years by Entertainment Weekly, was an Oprah's Book Club pick, and the best-selling trade paperback novel in the year of its reprint.* Nothing to sneeze at.
Don't get me wrong, there are some definite rules out there that must be followed, but many that are being presented as rules are, in fact, merely suggestions that have been generalized. The best advice you can get from anyone is individualized to your specific work.
So go ahead and break the "rules" as long as you stick to this: Keep readers reading.
~Lydia
JOE'S TAKE ON THIS TOPIC:
People use the, "once you're a professional" line to prove a few different viewpoints, often conflicting. The most common purposes are new writers that don't feel like fixing their grammar and people that like to look down on others because they don't write in the boring vanilla flavor that they feel should be used.
Here's the deal. Professional writers do not get published and then start slopping ink onto a page with a paint roller and send it off to the publisher from there on out. Unless it's about vampires.
Do editors miss things that the writers themselves missed? Yes. Grammatical errors? Yes. Do some, sadly, phone in their next novel? Yes. Are there exceptions to any norm? Yes. And yes, yes, yes, and yes, blah blah, blllllllah. Always exceptions.
You need to learn how to be both a writer and reader. If you are using it as an excuse not to correct actual mistakes, then shaddup and brush up on yer technique. Baseball players don't fight through the minors just for the privilege of striking out whenever they feel like it in the majors. Not how it works.
On the other hand, if you're just trying to stifle someone else's style, then you're also wrong. Especially in my main genres, military sci-fi and nonfiction, there are a plethora of unique styles. John Ringo quickly rose into the top echelon of sci-fi writers in the last decade and he uses all kinds of technique that are not standard fare. The dude will occasionally use narrative interjectives in the middle of dialogue--instead of tags! Not right! Not right, I say!!!
As long as it is not grammatically incorrect, is it wrong? No. But then again, I'm not a professional. Curse that whole common sense thing.
---
* Stats for The Road taken from The Fire In Fiction by Donald Maass, p. 18 (Writer's Digest Books, 2009)
Sunday, December 19, 2010
Sunday Snippet Sharing
Today's snippet is from Lydia's contemp YA thriller FINDING ME, a work in progress.
-----
The drive home from the cemetery was refreshingly solitary. Stationary dots of white speckled the sky, along with occasional flares of exploding rainbows. I turned a corner too fast and the tires squealed. For the first time in my life, I thought of death in a positive light. How easy it would be to veer off the road and hit a pole or a tree, and not have to worry about anything ever again.
Wouldn't it be better to die now rather than later, lost and alone, senile, with the whole damn country looking for me? But if I died now then Laurel would never exist. Right? Could I live with that guilt? Or rather, not live with it?
Ugh, this was giving me a brain ache. What happened to the good old days, full of ignorant bliss? When Daddy was still alive, Mama didn't disappear on impromptu mental health get-aways, and future grandchildren stayed in their own time period.
My cell phone rang and BFF flashed on the caller ID (which was a joke between me and Milo; we both hated the term BFF). "I'm on my way home," I snapped, not giving him a chance to ask.
The phone crackled as he sucked in air.
What now? "Just say it, Milo."
"My dad has half the night shift patrolling the streets. You won't make it home before one of them stops you. Two cruisers are parked in our driveway and the cops are waiting on your front porch."
Just like him to overreact. "What the hell were you thinking?"
"I was thinking," an edge had crept into his tone, "that my best friend is under a lot of stress and she needed help. I was worried about you. Is that so difficult to believe? You just got fired, your mom's been gone for a month, and then you disappear… please don't go down that road. You're not like her."
"I won't."
"Then don't. Don't leave without telling someone where you're going. Okay?"
A puff of air escaped my lips in a sharp burst. "Maybe I'll just tell Cassie next time. Then you'll--"
"Leave Cassie out of this." Something on the other line shuffled, then I heard distinct footsteps. "You don't have to love her but please don't stir up trouble."
Do you love her? I thought, but said this instead, "Did your dad ask about my mom yet?" My eyes stung and the road ahead of me blurred. The last thing I needed was to see Mama's face plastered on the front page of tomorrow morning's paper.
Local psycho, Laurel Montgomery, leaves teenage children alone with no money and no hint of her whereabouts. Last seen on June 2 watering her mailbox and tacking Christmas lights to her lawn, reports a neighbor.
"Yeah," Milo said, softer now. "He asked Seth if he could talk to her, and Seth told him she'd disappeared again. He made him file an official report when the other cops showed up."
Exactly what I didn't want to hear.
"I'm sorry, Shy. I didn't mean for all this to happen. I just wanted to know you were safe. I mean… what was I supposed to think, after last night, and then no one knowing where you are, and then that weird phone call, and then not hearing from you again for over an hour? What would you have done?"
I couldn't answer that. "Sorry I ruined your party."
"Apology accepted." He let out a laugh/sigh and I imagined the frustrated look on Cassie's pinched-in little face when she saw Milo freaking out over me. "How far are you?"
"Ten minutes?" If ten meant thirty. I was purposely taking the scenic route. "Can you call off the hounds? I'm fine. I know my way home."
"And you also know it's not my call anymore."
We left it at that and said our goodbyes. Damn him for caring so much.
No sooner had I turned another street corner and white lights flashed in my rearview mirror. They found me already? I wasn't even inside the city limits yet.
The lights vanished. I slowed and checked all my mirrors. Nothing. Then…
"Where are we this time?"
My eyes instinctively popped up to the rearview mirror and there was Laurel junior in my back seat. "This is my mom's car," I answered absently. "I'm on my way home from the cemetery." I couldn't even feel surprised by her appearances anymore. And to think, this time two days ago I didn't even know she existed.
But no, wait, she doesn't exist. Ugh, another brain ache. Stop thinking.
"Oh."
That was all she had to say? Just oh? With her behind me in the dark I couldn't tell if she'd aged anymore this time. "I thought you were mad at me," I said. "Why'd you come back?"
"I've got some bad news."
A cat or a skunk or something ran in front of the car and I swerved to avoid it. A chill prickled my bare arms; that had to be an omen. "Just tell me. Am I dead?"
"No, it's only been a few hours since I left you here. Everyone's asleep now and we still don't know where you are."
My hands slackened over the steering wheel. But it was absurd, really, for me to be worried about my future self dying. We all die. At least I'd made it to seventy… ish. And for the love of cheesecake, I was alive now! I should be grateful. Why did I think I had to help Laurel find me, anyway? Whatever happens in the future can't be changed in the past.
"Are you going to tell me the bad news," I asked, quickly losing my patience with her again, "or are you going to make me guess?"
"I'm afraid to tell you."
"Don't be ridiculous. I'm not your grandma yet and you don't exist here. I can't do anything to you." I turned onto a rural highway. The higher speed limit was just what I needed, a release of energy on something other than my annoying future progeny. "Just say it already."
The leather seat squeaked as she shifted. "I can't go forward."
"You mean to your future?"
"Yeah. Which means you can't either, so I can't bring you home with me. We can only go backwards. And that's no help at all!" She thrust her arm between the front seats, charm bracelet dangling off her chubby wrist. "I hate this thing. It's useless!"
"That was a gift from my dead father, you ungrateful little brat! Do you have any idea--"
"How much hell I've endured!" Laurel shouted in unison with me, mockingly, then slumped back on the seat. "You always say that when you're mad. Yeah, I know, you had such a horrible life. And you make sure everyone knows." She sniffled and flipped her hair over her shoulder. "Well, I guess it's genetic, 'cause my life sucks, too. Thanks for the curse, Grandma."
I pressed down further on the gas pedal. Fifty, fifty-five, sixty… no matter how fast I went the hurt kept pace with me, crushing my heart with each unsteady beat. I'd thought I could somehow break the cycle of bad mothering, not allow it to make me bitter and cranky like Mama. I'd thought I was stronger than this. Stronger than her.
-----
FINDING ME
© 2010 by Lydia Sharp
Thanks for reading!
~Lydia
-----
The drive home from the cemetery was refreshingly solitary. Stationary dots of white speckled the sky, along with occasional flares of exploding rainbows. I turned a corner too fast and the tires squealed. For the first time in my life, I thought of death in a positive light. How easy it would be to veer off the road and hit a pole or a tree, and not have to worry about anything ever again.
Wouldn't it be better to die now rather than later, lost and alone, senile, with the whole damn country looking for me? But if I died now then Laurel would never exist. Right? Could I live with that guilt? Or rather, not live with it?
Ugh, this was giving me a brain ache. What happened to the good old days, full of ignorant bliss? When Daddy was still alive, Mama didn't disappear on impromptu mental health get-aways, and future grandchildren stayed in their own time period.
My cell phone rang and BFF flashed on the caller ID (which was a joke between me and Milo; we both hated the term BFF). "I'm on my way home," I snapped, not giving him a chance to ask.
The phone crackled as he sucked in air.
What now? "Just say it, Milo."
"My dad has half the night shift patrolling the streets. You won't make it home before one of them stops you. Two cruisers are parked in our driveway and the cops are waiting on your front porch."
Just like him to overreact. "What the hell were you thinking?"
"I was thinking," an edge had crept into his tone, "that my best friend is under a lot of stress and she needed help. I was worried about you. Is that so difficult to believe? You just got fired, your mom's been gone for a month, and then you disappear… please don't go down that road. You're not like her."
"I won't."
"Then don't. Don't leave without telling someone where you're going. Okay?"
A puff of air escaped my lips in a sharp burst. "Maybe I'll just tell Cassie next time. Then you'll--"
"Leave Cassie out of this." Something on the other line shuffled, then I heard distinct footsteps. "You don't have to love her but please don't stir up trouble."
Do you love her? I thought, but said this instead, "Did your dad ask about my mom yet?" My eyes stung and the road ahead of me blurred. The last thing I needed was to see Mama's face plastered on the front page of tomorrow morning's paper.
Local psycho, Laurel Montgomery, leaves teenage children alone with no money and no hint of her whereabouts. Last seen on June 2 watering her mailbox and tacking Christmas lights to her lawn, reports a neighbor.
"Yeah," Milo said, softer now. "He asked Seth if he could talk to her, and Seth told him she'd disappeared again. He made him file an official report when the other cops showed up."
Exactly what I didn't want to hear.
"I'm sorry, Shy. I didn't mean for all this to happen. I just wanted to know you were safe. I mean… what was I supposed to think, after last night, and then no one knowing where you are, and then that weird phone call, and then not hearing from you again for over an hour? What would you have done?"
I couldn't answer that. "Sorry I ruined your party."
"Apology accepted." He let out a laugh/sigh and I imagined the frustrated look on Cassie's pinched-in little face when she saw Milo freaking out over me. "How far are you?"
"Ten minutes?" If ten meant thirty. I was purposely taking the scenic route. "Can you call off the hounds? I'm fine. I know my way home."
"And you also know it's not my call anymore."
We left it at that and said our goodbyes. Damn him for caring so much.
No sooner had I turned another street corner and white lights flashed in my rearview mirror. They found me already? I wasn't even inside the city limits yet.
The lights vanished. I slowed and checked all my mirrors. Nothing. Then…
"Where are we this time?"
My eyes instinctively popped up to the rearview mirror and there was Laurel junior in my back seat. "This is my mom's car," I answered absently. "I'm on my way home from the cemetery." I couldn't even feel surprised by her appearances anymore. And to think, this time two days ago I didn't even know she existed.
But no, wait, she doesn't exist. Ugh, another brain ache. Stop thinking.
"Oh."
That was all she had to say? Just oh? With her behind me in the dark I couldn't tell if she'd aged anymore this time. "I thought you were mad at me," I said. "Why'd you come back?"
"I've got some bad news."
A cat or a skunk or something ran in front of the car and I swerved to avoid it. A chill prickled my bare arms; that had to be an omen. "Just tell me. Am I dead?"
"No, it's only been a few hours since I left you here. Everyone's asleep now and we still don't know where you are."
My hands slackened over the steering wheel. But it was absurd, really, for me to be worried about my future self dying. We all die. At least I'd made it to seventy… ish. And for the love of cheesecake, I was alive now! I should be grateful. Why did I think I had to help Laurel find me, anyway? Whatever happens in the future can't be changed in the past.
"Are you going to tell me the bad news," I asked, quickly losing my patience with her again, "or are you going to make me guess?"
"I'm afraid to tell you."
"Don't be ridiculous. I'm not your grandma yet and you don't exist here. I can't do anything to you." I turned onto a rural highway. The higher speed limit was just what I needed, a release of energy on something other than my annoying future progeny. "Just say it already."
The leather seat squeaked as she shifted. "I can't go forward."
"You mean to your future?"
"Yeah. Which means you can't either, so I can't bring you home with me. We can only go backwards. And that's no help at all!" She thrust her arm between the front seats, charm bracelet dangling off her chubby wrist. "I hate this thing. It's useless!"
"That was a gift from my dead father, you ungrateful little brat! Do you have any idea--"
"How much hell I've endured!" Laurel shouted in unison with me, mockingly, then slumped back on the seat. "You always say that when you're mad. Yeah, I know, you had such a horrible life. And you make sure everyone knows." She sniffled and flipped her hair over her shoulder. "Well, I guess it's genetic, 'cause my life sucks, too. Thanks for the curse, Grandma."
I pressed down further on the gas pedal. Fifty, fifty-five, sixty… no matter how fast I went the hurt kept pace with me, crushing my heart with each unsteady beat. I'd thought I could somehow break the cycle of bad mothering, not allow it to make me bitter and cranky like Mama. I'd thought I was stronger than this. Stronger than her.
-----
FINDING ME
© 2010 by Lydia Sharp
Thanks for reading!
~Lydia
Friday, December 17, 2010
Connecting With Your Reader
Last night Joe and I met with the awesome group of local kid lit authors for our monthly YA book club discussion. This time around, I didn't have a whole lot of good to say about the book we read. The main reason? I just didn't connect with the main character or his story.
I had a hard time explaining why I felt this way. It's just a feeling. You either connect or you don't. And personally, if I don't connect by the end of the first chapter or scene break, I won't keep reading. For this book, though, I did keep reading because I wanted to be able to participate in the discussion at book club. But I struggled with it. A lot. And I only got half-way through the book before giving up.
The novel was relatively short and simplistic in style, so it wasn't that I couldn't read it. The problem was that I couldn't get through it. There's a difference.
And it's all just my opinion. I don't argue opinions. The group seemed a bit divided on certain points and completely agreed on certain others. I can appreciate that each reader will respond to the same story in their own unique way, and this is why book club discussions are kind of addictive.
As a writer, though, this can be extremely frustrating. How do you connect with your reader?
1. Define your audience. Who are you writing for? Teens? Adults? Children? Pick one, and then narrow it down even more. Divorced women over 40? Girls with eating disorders? Men seeking escape through space opera? Teen guys preparing for the Zombie Apocalypse? The more you know about your audience, the better you will be able to serve them.
2. Define your main character. Who is this person? What makes him/her worth following? If the viewpoint character's personality is too vague, your reader will have trouble forming an opinion one way or another, resulting in overall dislike. Even if the MC starts out with some very unlikeable qualities, many readers understand that this means the character will change over the course of the story, so they keep reading to see just how that change happens. This is exactly the reason why I kept reading BEFORE I FALL by Lauren Oliver. I outright hated Sam and her friends at the beginning, and that novel ended up being one of my favorite books of 2010. The characterization was clear from page one, providing a foundation on which the story could build.
3. Focus on the primal. What is the MC's main underlying goal? If it is unclear, or it is not basic enough, the reader won't connect. While the characterization needs to be unique and specific, the main goal that drives the plot should be something any human can relate to. But it won't be defined as such in actual words in the story. It's a feeling you get while reading. An understanding.
A few examples that can connect your reader to your MC's story are: the desire for love and companionship, the desire to have a family, the desire to fit in, the desire to be understood by others, the desire to live or die, and the basic need for food, clothing, and shelter.
4. Accept that you cannot please everyone. Period.
While all of this is still just riding on my own opinion, here is an example of a story I connected with on the very first page.
LOSING FAITH by Denise Jaden (Simon Pulse, 2010)
That isn't even the full first page, but I knew by the end of that paragraph that this is going to be a book I'll enjoy reading. It starts with a desire, goal, and conflict, and her characterization is efficiently clear. That's all I need. I'm hooked.
What connects YOU to a character and his/her story?
Happy reading,
~Lydia
I had a hard time explaining why I felt this way. It's just a feeling. You either connect or you don't. And personally, if I don't connect by the end of the first chapter or scene break, I won't keep reading. For this book, though, I did keep reading because I wanted to be able to participate in the discussion at book club. But I struggled with it. A lot. And I only got half-way through the book before giving up.
The novel was relatively short and simplistic in style, so it wasn't that I couldn't read it. The problem was that I couldn't get through it. There's a difference.
And it's all just my opinion. I don't argue opinions. The group seemed a bit divided on certain points and completely agreed on certain others. I can appreciate that each reader will respond to the same story in their own unique way, and this is why book club discussions are kind of addictive.
As a writer, though, this can be extremely frustrating. How do you connect with your reader?
1. Define your audience. Who are you writing for? Teens? Adults? Children? Pick one, and then narrow it down even more. Divorced women over 40? Girls with eating disorders? Men seeking escape through space opera? Teen guys preparing for the Zombie Apocalypse? The more you know about your audience, the better you will be able to serve them.
2. Define your main character. Who is this person? What makes him/her worth following? If the viewpoint character's personality is too vague, your reader will have trouble forming an opinion one way or another, resulting in overall dislike. Even if the MC starts out with some very unlikeable qualities, many readers understand that this means the character will change over the course of the story, so they keep reading to see just how that change happens. This is exactly the reason why I kept reading BEFORE I FALL by Lauren Oliver. I outright hated Sam and her friends at the beginning, and that novel ended up being one of my favorite books of 2010. The characterization was clear from page one, providing a foundation on which the story could build.
3. Focus on the primal. What is the MC's main underlying goal? If it is unclear, or it is not basic enough, the reader won't connect. While the characterization needs to be unique and specific, the main goal that drives the plot should be something any human can relate to. But it won't be defined as such in actual words in the story. It's a feeling you get while reading. An understanding.
A few examples that can connect your reader to your MC's story are: the desire for love and companionship, the desire to have a family, the desire to fit in, the desire to be understood by others, the desire to live or die, and the basic need for food, clothing, and shelter.
4. Accept that you cannot please everyone. Period.
While all of this is still just riding on my own opinion, here is an example of a story I connected with on the very first page.
The statue has got to go.
That's my first thought as I prep the living room for Dustin's visit later tonight. I know I'm the only one who would notice the discriminating eyes of Mom's four-inch Jesus staring down from the mantel. Dustin probably wouldn't look away from my breasts if the room were two feet deep in holy water. Still, I reach for it.
LOSING FAITH by Denise Jaden (Simon Pulse, 2010)
That isn't even the full first page, but I knew by the end of that paragraph that this is going to be a book I'll enjoy reading. It starts with a desire, goal, and conflict, and her characterization is efficiently clear. That's all I need. I'm hooked.
What connects YOU to a character and his/her story?
Happy reading,
~Lydia
Thursday, December 16, 2010
Lydia Takes a Much-Needed Day Off
We all have days when we want/need to do absolutely nothing productive whatsoever. This is especially so when you work at home, sitting in front of a computer all day long, "talking" to... "people" (your fictional characters and online writing buddies). If you don't let loose once in a while, you'll go (even more) insane.
I started a new WIP less than 2 weeks ago, and I'm already near the 30K mark. This has really worn me out, in addition to the wear and tear of normal everyday things, including blogging and social networking (yeah, it's all work. sort of).
So today I'm kicking back.
This looks beyond awesome. Mark your calendars for February 5 and prepare to be FROZEN (as if we aren't already, right? haha).
Don't click on this link if you have a heart condition. You might just die laughing (you've been warned).
Keenan Cahill - DJ Got Us Fallin' In Love Again
On a smoother note...
"Baby It's Cold Outside" - Norah Jones and Willie Nelson. LOVE THIS. Pour me some wine get the fire going.
I really wouldn't complain if someone bought these stockings for me. You can do so HERE. One Size Fits Most... get yourself a pair while you're at it.
Last night on YAlitChat, we got into an oddly lengthy discussion about body hair. Here's a comment I made in response to Elana Johnson, just to give you an idea. Click HERE.
For some truly amazing stories, visit the Dear Teen Me website, HERE.
And the grand finale? SH*T MY KIDS RUINED. Always hilarious. And makes me appreciate just how wonderful my son is.
Back to being more serious tomorrow!
~Lydia
I started a new WIP less than 2 weeks ago, and I'm already near the 30K mark. This has really worn me out, in addition to the wear and tear of normal everyday things, including blogging and social networking (yeah, it's all work. sort of).
So today I'm kicking back.
This looks beyond awesome. Mark your calendars for February 5 and prepare to be FROZEN (as if we aren't already, right? haha).
Don't click on this link if you have a heart condition. You might just die laughing (you've been warned).
Keenan Cahill - DJ Got Us Fallin' In Love Again
On a smoother note...
"Baby It's Cold Outside" - Norah Jones and Willie Nelson. LOVE THIS. Pour me some wine get the fire going.
I really wouldn't complain if someone bought these stockings for me. You can do so HERE. One Size Fits Most... get yourself a pair while you're at it.
Last night on YAlitChat, we got into an oddly lengthy discussion about body hair. Here's a comment I made in response to Elana Johnson, just to give you an idea. Click HERE.
For some truly amazing stories, visit the Dear Teen Me website, HERE.
And the grand finale? SH*T MY KIDS RUINED. Always hilarious. And makes me appreciate just how wonderful my son is.
Back to being more serious tomorrow!
~Lydia
Wednesday, December 15, 2010
I AM NUMBER FOUR Sold Before It Was Even Finished (ellipsis, exclamation point, question mark, exclamation point)
Hey, it's Joe.
A few months ago, our local newspaper told the story of I Am Number Four, a novel written by a local boy that was pitched to and accepted by Dreamworks before the author had even finished writing it. Now, we have this--and a ton more--on Youtube:
http://www.youtube.com/watch?v=oP6zhpST3Ro
A dedicated fan site:
http://iamnumberfourfans.com/
An Amazon Best Books of 2010 Editors' Pick for Teens (and major sales) now that the book is out. Buy it here:
http://www.amazon.com/Am-Number-Four-Lorien-Legacies/dp/0061969559
I would call it similar to the Twilight hype, but this actually looks cool. And it was written by a fellow northeast Ohioan, so we know the guy is smart.
So what does that mean to the rest of us writers? It happens! It's rare, and until now thought only possible with sparkly vampires, but going from being unknown to set for life--in this case on premise alone--happens.
It also shows that our pitches and queries may be more important than some realize, as those are the vehicles we use to deliver our premise.
And finally, I want to read the book and watch the movie, which is what writing is really all about in the end: readership. Mainly mine, of course, but the rest of the world counts for something, I guess.
A few months ago, our local newspaper told the story of I Am Number Four, a novel written by a local boy that was pitched to and accepted by Dreamworks before the author had even finished writing it. Now, we have this--and a ton more--on Youtube:
http://www.youtube.com/watch?v=oP6zhpST3Ro
A dedicated fan site:
http://iamnumberfourfans.com/
An Amazon Best Books of 2010 Editors' Pick for Teens (and major sales) now that the book is out. Buy it here:http://www.amazon.com/Am-Number-Four-Lorien-Legacies/dp/0061969559
I would call it similar to the Twilight hype, but this actually looks cool. And it was written by a fellow northeast Ohioan, so we know the guy is smart.
So what does that mean to the rest of us writers? It happens! It's rare, and until now thought only possible with sparkly vampires, but going from being unknown to set for life--in this case on premise alone--happens.
It also shows that our pitches and queries may be more important than some realize, as those are the vehicles we use to deliver our premise.
And finally, I want to read the book and watch the movie, which is what writing is really all about in the end: readership. Mainly mine, of course, but the rest of the world counts for something, I guess.
Tuesday, December 14, 2010
In Response to a Fellow Blogger -- The Helpful Non-Form-Rejection Letter
I wasn't going to put up a new post today, but fellow author and blogger, Jessica Brooks, said this in her post today:
"I, along with other people, would love to hear an example of a helpful rejection."
Is there such a thing? Yes. Yes, there is. But, coming from agents, it's not only extremely rare, but it's also usually only after they have read either a partial of your ms or the whole thing. We're not just talking about query rejections here. It's at the next level (of heartache).
The following is a rejection letter I received from one of the very first agents who read one of my novels earlier this year:
Thank you so much for the opportunity to read [YOUR NOVEL]. Unfortunately, this is a pass for me. The writing here is good and the premise is interesting but I'm having a hard time imagining how to pitch or sell this in today's market. I really wanted to like it but the plot unraveled around the time [so-and-so did such-and-such]. There wasn't enough in her characterization to support that, and I just felt like it rambled on. There also wasn't enough character development or insight into what [this other character] was going through. He's the one [doing this specific action], but neither of those tensions really came to a boil for the majority of the manuscript as much as I needed them to. You're obviously a very skilled writer and I know I'll be kicking myself, but I'm not connecting to the material enough to be the best advocate for it in the marketplace, and you deserve nothing less. I'm sure another agent will feel differently and I look forward to reading about your many successes.
Sincerely,
Agent Who Lydia Is Eternally Grateful To For Giving Such Detailed Feedback
This agent did three very important things here:
1. She kept it overall positive.
2. She sighted specific reasons for the rejection.
3. She mentioned marketability.
All of that worked together to make it clear to me, as the author, that she read the entire story and then gave my novel serious consideration before sending this letter. Not that it was easy to read this, at first. It crushed me. But when I went back to it later, once the initial sting had receded, I was able to see it more objectively and used her feedback to improve the manuscript before sending it to anyone else.
That really is the best/most you can ask for in a rejection letter.
~Lydia
"I, along with other people, would love to hear an example of a helpful rejection."
Is there such a thing? Yes. Yes, there is. But, coming from agents, it's not only extremely rare, but it's also usually only after they have read either a partial of your ms or the whole thing. We're not just talking about query rejections here. It's at the next level (of heartache).
The following is a rejection letter I received from one of the very first agents who read one of my novels earlier this year:
Thank you so much for the opportunity to read [YOUR NOVEL]. Unfortunately, this is a pass for me. The writing here is good and the premise is interesting but I'm having a hard time imagining how to pitch or sell this in today's market. I really wanted to like it but the plot unraveled around the time [so-and-so did such-and-such]. There wasn't enough in her characterization to support that, and I just felt like it rambled on. There also wasn't enough character development or insight into what [this other character] was going through. He's the one [doing this specific action], but neither of those tensions really came to a boil for the majority of the manuscript as much as I needed them to. You're obviously a very skilled writer and I know I'll be kicking myself, but I'm not connecting to the material enough to be the best advocate for it in the marketplace, and you deserve nothing less. I'm sure another agent will feel differently and I look forward to reading about your many successes.
Sincerely,
Agent Who Lydia Is Eternally Grateful To For Giving Such Detailed Feedback
This agent did three very important things here:
1. She kept it overall positive.
2. She sighted specific reasons for the rejection.
3. She mentioned marketability.
All of that worked together to make it clear to me, as the author, that she read the entire story and then gave my novel serious consideration before sending this letter. Not that it was easy to read this, at first. It crushed me. But when I went back to it later, once the initial sting had receded, I was able to see it more objectively and used her feedback to improve the manuscript before sending it to anyone else.
That really is the best/most you can ask for in a rejection letter.
~Lydia
Monday, December 13, 2010
Applying the Spit and Polish
ADDENDUM: If you would like me to run a contest for a first chapter critique, please let me know in the comments here. If there is enough interest, I'll do it. Thanks to PK for the idea! Please spread the word.
-----
First drafts are often full of generic wording, and mostly telling instead of showing. And if you haven't yet mastered the technique of an engaging narrative voice, you've got a heck of a lot of work ahead of you during edits.
To show what I mean, I'm going to offer a short snippet from one of my novels. First, how it may look on a first draft. Then, how it can be polished so it shines.
(Disclaimer: This is actually NOT what it looked like on my first draft. Haha. But for the purpose of making my point clear, I'll dummy it up.)
This is from my YA novel, SOCIAL GRACES. The viewpoint character is 17, home alone babysitting her little brother and baby nephew, and the girl she talks to on the phone is 14.
Okay. Um... where do I begin with just how wrong this is?
1. Every action is flat. It's just there. It has no meaning. It's like you're watching it on a TV screen. Cold and unemotional. You're NOT in the character's head. At all.
2. Which is why we have no idea what the viewpoint character is really thinking. Which leaves us confused about motive and goal and reasons for certain reactions and choices made clear in the dialogue. We don't have a reason to care, but we have every reason to stop reading.
3. There is no voice to speak of here. DULL.
4. There is no connection to previous scenes or possible future decisions, leaving it feel like it has no purpose. Yes, we can see that these two people know each other and sort of know each other's situations, but that's about it. As a reader myself, I love when a scene is clearly connected to something I've already read in the story. It gives a feeling of satisfaction as the story moves along.
Time to apply some spit and polish. I'll highlight the changes in the actual passage, then go through them point by point.
SOCIAL GRACES
© 2010 by Lydia Sharp
Excuse me for a moment while I let out a sigh of relief.
Okay. Now we can discuss. The first thing you should notice is that all of the dialogue is exactly the same, but when the stuff around it has been changed, the scene has a completely different feel to it.
1. Logan and Jeremy are oddly cooperative for their bedtime.
The reader already knows at this point that the viewpoint character is babysitting her little brother and baby nephew. The reader also already knows, based on previous scenes, that these children are like a thorn in the viewpoint character's side with their usual behavior. So using the phrase "oddly cooperative" is an efficient way to show, not only what happened without outright saying it (they went to bed easily for once), but also how this character feels about it. Two little words, and all of that is clear to the reader.
2. I need a cigarette. Like, now. Stupid no-smoking-in-the-house rule!
Great way to show what she's feeling without outright telling it. Also, the reader learned in a previous scene that she's not allowed to smoke in the house. This re-emphasizes that fact, and how she feels about it, using her voice. Not just a stale narrative.
3. Hearing her sweet voice calms me better than nicotine.
Again, making what she's currently feeling clear without really telling it. Also, the comparison is relevant to what we just learned in the previous paragraph-- she needs a cigarette. Well, now she might be okay without one for a few minutes while they talk. This says A LOT about the character relationship, even without the character herself realizing it yet.
4. She sniffles and takes in a shaky breath.
We're more inside the viewpoint character's shoes here. They're talking on the phone. No visual. So for her to simply make an observation, as in the first snippet -- I can tell she's been crying -- doesn't really say anything, does it? The reader needs to know why she came to that conclusion. Show what she's experiencing, then let the reader make the conclusion that the other character has likely been crying, or at the very least, that she's upset about something.
Her slow exhale rattles the phone.
Basically the same reasoning here. Stay in the viewpoint character's head and describe what he/she is experiencing. For the majority of your scenes, this includes sight, sound, smell, and touch. Don't just state that the other character is breathing into the phone. State what the viewpoint character hears. This makes it more vivid for the reader, and again, they'll come to their own conclusion as to what this means.
5. She's a bundle of worry and confusion. It's like I'm talking to my younger self. What would I have wanted someone to say to me then?
Making the viewpoint character's thought process clear so the reader knows why she says her next line of dialogue. This also keeps the perspective extremely close to the MC because we're seeing how she's applying the events of the story to herself. She realizes the person she's talking to is going through something she already went through, and mirrors it back onto her own experience, basically asking herself, how can I make it better for her now than people did for me then? And again, the reader can see this without the author simply saying, "then I realized", as it was in the first snippet.
6. The final two paragraphs.
Everything about this screams "show don't tell." I shouldn't even have to explain why if you put if side by side with the first example... so I won't. I'm just going to point out the comparative imagery in the final paragraph.
This is a re-emphasis of a comparison that the viewpoint character made in a previous chapter. Since you all didn't get to read it, I shall quote:
Since the reader has already seen this comparison of water and dirt, when they get to the next one about water and a sponge, it makes sense. It gives a little smidgen of satisfaction, almost like an aha moment, but not exactly. It's more like... wow, that is so cool how you brought that back and then reversed it to show a clear change in viewpoint, you are a genius!
At least, that's what I want the reader to think, anyway. *ahem* Moving on...
7. Voice, voice, voice! When you're writing through a character, it should be unique to that character, whether it's first person or third person. Even if your story is told through multiple POVs, each scene/chapter should be clearly in that character's viewpoint. No other character can relay it the way this character does.
That is the number one complaint that agents and editors have (that I've seen) regarding novels written in third person multiple viewpoint. They don't see a point to changing the character POV. If all the voices sound the same, you're doing it wrong. Period.
But this applies to first person single viewpoint as well (or whatever other combination you use). The story has to be told in a way that only that particular character can tell it. Be true to your character's voice, sentence for sentence, paragraph for paragraph, page for page.
This should also clarify what is truly meant by "show don't tell." It's not just about being overly descriptive. It's about allowing the reader to experience the scenes through the character's eyes, ears, etc. When it's done correctly, it feels seamless and natural. But it takes real effort on your part, analyzing every word you've put on the screen.
My sincere hope is that some of what we discussed here today will make something click for you with your own manuscript.
Happy polishing,
~Lydia
-----
First drafts are often full of generic wording, and mostly telling instead of showing. And if you haven't yet mastered the technique of an engaging narrative voice, you've got a heck of a lot of work ahead of you during edits.
To show what I mean, I'm going to offer a short snippet from one of my novels. First, how it may look on a first draft. Then, how it can be polished so it shines.
(Disclaimer: This is actually NOT what it looked like on my first draft. Haha. But for the purpose of making my point clear, I'll dummy it up.)
This is from my YA novel, SOCIAL GRACES. The viewpoint character is 17, home alone babysitting her little brother and baby nephew, and the girl she talks to on the phone is 14.
I put Logan and Jeremy to bed with no trouble. My hands are trembling as I dial Jasmine's number. She picks up on the second ring.
"Hello?"
I love the sound of her voice. "Hey, baby girl, it's me. Are you okay?"
"I don't know." I can tell she's been crying. "I don't know what I'm doing anymore. Up is down and left is right. Nothing makes any sense."
"And nothing is going to get solved tonight. But you need to talk about it."
"Yeah." She breathes into the phone. "I just... I don't even know where to start."
I'm not sure what to say. Then I realize, she doesn't need advice, she needs understanding. She needs to know she's not alone.
"Would it help if I told you my story first?" I say.
"Yeah, maybe. Can you?"
This is harder than I thought it would be. But once I get going, it doesn't feel weird anymore.
Okay. Um... where do I begin with just how wrong this is?
1. Every action is flat. It's just there. It has no meaning. It's like you're watching it on a TV screen. Cold and unemotional. You're NOT in the character's head. At all.
2. Which is why we have no idea what the viewpoint character is really thinking. Which leaves us confused about motive and goal and reasons for certain reactions and choices made clear in the dialogue. We don't have a reason to care, but we have every reason to stop reading.
3. There is no voice to speak of here. DULL.
4. There is no connection to previous scenes or possible future decisions, leaving it feel like it has no purpose. Yes, we can see that these two people know each other and sort of know each other's situations, but that's about it. As a reader myself, I love when a scene is clearly connected to something I've already read in the story. It gives a feeling of satisfaction as the story moves along.
Time to apply some spit and polish. I'll highlight the changes in the actual passage, then go through them point by point.
Logan and Jeremy are oddly cooperative for their bedtime. My hands are trembling as I dial Jasmine's number. I need a cigarette. Like, now. Stupid no-smoking-in-the-house rule! She picks up on the second ring.
"Hello?"
Hearing her sweet voice calms me better than nicotine. "It's me, baby girl. Are you okay?"
"I don't know." She sniffles and takes in a shaky breath. "I don't know what I'm doing anymore. Up is down and left is right. Nothing makes any sense."
"And nothing's going to get solved tonight. But you need to talk about it."
"Yeah." Her slow exhale rattles the phone. "I just… I don't even know where to start."
She's a bundle of worry and confusion. It's like I'm talking to my younger self. What would I have wanted someone to say to me then? She doesn't need advice, she needs understanding. She needs to know she's not alone.
"Would it help if I told you my story first?" I say.
"Yeah, maybe. Can you?"
It takes me a few tries before I get the first sentence out. I've never really talked about this with anyone. Not like this, anyway. I'm not arguing, or standing up for myself, or trying to prove a point. I'm just… talking.
And she's absorbing every word. I'm the water now and she's a sponge. We don't feel like a mess this time. No dirt in sight. Just her and me and whatever this new thing is between us.
SOCIAL GRACES
© 2010 by Lydia Sharp
Excuse me for a moment while I let out a sigh of relief.
Okay. Now we can discuss. The first thing you should notice is that all of the dialogue is exactly the same, but when the stuff around it has been changed, the scene has a completely different feel to it.
1. Logan and Jeremy are oddly cooperative for their bedtime.
The reader already knows at this point that the viewpoint character is babysitting her little brother and baby nephew. The reader also already knows, based on previous scenes, that these children are like a thorn in the viewpoint character's side with their usual behavior. So using the phrase "oddly cooperative" is an efficient way to show, not only what happened without outright saying it (they went to bed easily for once), but also how this character feels about it. Two little words, and all of that is clear to the reader.
2. I need a cigarette. Like, now. Stupid no-smoking-in-the-house rule!
Great way to show what she's feeling without outright telling it. Also, the reader learned in a previous scene that she's not allowed to smoke in the house. This re-emphasizes that fact, and how she feels about it, using her voice. Not just a stale narrative.
3. Hearing her sweet voice calms me better than nicotine.
Again, making what she's currently feeling clear without really telling it. Also, the comparison is relevant to what we just learned in the previous paragraph-- she needs a cigarette. Well, now she might be okay without one for a few minutes while they talk. This says A LOT about the character relationship, even without the character herself realizing it yet.
4. She sniffles and takes in a shaky breath.
We're more inside the viewpoint character's shoes here. They're talking on the phone. No visual. So for her to simply make an observation, as in the first snippet -- I can tell she's been crying -- doesn't really say anything, does it? The reader needs to know why she came to that conclusion. Show what she's experiencing, then let the reader make the conclusion that the other character has likely been crying, or at the very least, that she's upset about something.
Her slow exhale rattles the phone.
Basically the same reasoning here. Stay in the viewpoint character's head and describe what he/she is experiencing. For the majority of your scenes, this includes sight, sound, smell, and touch. Don't just state that the other character is breathing into the phone. State what the viewpoint character hears. This makes it more vivid for the reader, and again, they'll come to their own conclusion as to what this means.
5. She's a bundle of worry and confusion. It's like I'm talking to my younger self. What would I have wanted someone to say to me then?
Making the viewpoint character's thought process clear so the reader knows why she says her next line of dialogue. This also keeps the perspective extremely close to the MC because we're seeing how she's applying the events of the story to herself. She realizes the person she's talking to is going through something she already went through, and mirrors it back onto her own experience, basically asking herself, how can I make it better for her now than people did for me then? And again, the reader can see this without the author simply saying, "then I realized", as it was in the first snippet.
6. The final two paragraphs.
Everything about this screams "show don't tell." I shouldn't even have to explain why if you put if side by side with the first example... so I won't. I'm just going to point out the comparative imagery in the final paragraph.
This is a re-emphasis of a comparison that the viewpoint character made in a previous chapter. Since you all didn't get to read it, I shall quote:
I can't really help her without making things worse. She's a glass of clear water and I'm a clump of dirt. Together we're nothing but a mess of mud.
Since the reader has already seen this comparison of water and dirt, when they get to the next one about water and a sponge, it makes sense. It gives a little smidgen of satisfaction, almost like an aha moment, but not exactly. It's more like... wow, that is so cool how you brought that back and then reversed it to show a clear change in viewpoint, you are a genius!
At least, that's what I want the reader to think, anyway. *ahem* Moving on...
7. Voice, voice, voice! When you're writing through a character, it should be unique to that character, whether it's first person or third person. Even if your story is told through multiple POVs, each scene/chapter should be clearly in that character's viewpoint. No other character can relay it the way this character does.
That is the number one complaint that agents and editors have (that I've seen) regarding novels written in third person multiple viewpoint. They don't see a point to changing the character POV. If all the voices sound the same, you're doing it wrong. Period.
But this applies to first person single viewpoint as well (or whatever other combination you use). The story has to be told in a way that only that particular character can tell it. Be true to your character's voice, sentence for sentence, paragraph for paragraph, page for page.
This should also clarify what is truly meant by "show don't tell." It's not just about being overly descriptive. It's about allowing the reader to experience the scenes through the character's eyes, ears, etc. When it's done correctly, it feels seamless and natural. But it takes real effort on your part, analyzing every word you've put on the screen.
My sincere hope is that some of what we discussed here today will make something click for you with your own manuscript.
Happy polishing,
~Lydia
Friday, December 10, 2010
My Successful Query, Point By Point
The definition of a "successful query" is a query letter that results in a manuscript request. Once the agent has requested your manuscript, the question of whether or not they will offer representation is answered only after reading and analyzing your story. It's not up to the query letter anymore at that point. By then it has already done its job and passed the baton.
I've been putting off sharing my "successful query" for a while because, although it has resulted in multiple manuscript requests--both with and without sample pages accompanying it--I just don't feel qualified to give specific advice in this area before I have an agent.
But I guess that way of thinking is a bunch of ridiculous hoopty-doo, really. This query letter did its job, and it did it well. So here's my personal breakdown of why I think it worked.
First and foremost, I don't send out the same exact query letter to every single agent. The story pitch is the same in all of them, but the rest of the letter is customized. The sample I'm going to show here is not an exact replica of every query letter I sent. It is unique to this particular agent (who, for now, shall remain anonymous).
Dear Ms. Agent: [1]
Sometimes the worst failures are born from the best intentions. [2]
Diana Atkins [3] has always considered herself trustworthy and honest, so when Ben "the Italian stallion" Attillio [3] confesses to her on the last day of school that he is gay, she promises not to tell anyone. [4] But then he asks her to pose as his fake girlfriend until he determines how to come out of the closet. Diana agrees to do it on three conditions: it is only for the summer, she will not outright lie to anyone, and he has to repay her for the inconvenience.[5]
But fake dating still requires the basics of real dating--doing things together--and midway through their elaborate charade Diana realizes she's falling in love with Ben, despite her attempts to avoid it. He may be gay but she is straight, and the boundaries of their playing field are starting to blur. She knows Ben can't reciprocate her feelings, though, and keeps them secret to preserve the first real friendship she's ever had.[6]
Just as it seems Ben is finally on a path toward acceptance from his homophobic family, he reveals a secret of his own he'd been keeping all summer--a lie more devastating than any hidden truth. Now Diana must decide between losing a friend or enabling an enemy, between following her head or following her heart.[7]
SUMMER HOAX [8] is a young adult novel of 76,000 words, [9] available upon request. The first chapter (ten pages) has been copied below this letter. [10] At this time, three other agents are reviewing requested material.[11]
I write fiction both with and without LGBT themes. Although I also write speculative fiction, I am currently focusing my novel-writing on contemporary women's fiction and young adult. [12] My short fiction is published under the pen name Lydia Sharp in the fantasy anthology SHADOWS & LIGHT (Pill Hill Press, 2009), and in the horror anthology FLESH & BONE (Pill Hill Press, 2010). [13] I am also a semi-regular contributor to Writer Unboxed (www.writerunboxed.com), which has been named one of "Writer's Digest 101 Best Websites For Writers" the past four years in a row.[14]
I was first introduced to you through [redacted]. I was even more impressed when I looked up your recent deals on Publisher's Marketplace. I am especially looking forward to the release of [redacted] by [redacted] and [redacted] by [redacted]. [15]
Thank you for considering my work. I look forward to hearing from you! [16]
Sincerely,
Olivia [redacted] [17]
home address
phone number
email address [18]
blog
twitter handle [19]
[20]
[1] - I'm keeping this person anonymous because she's still reading my manuscript at the moment, but you should always formally address the agent by their name. If you're honestly not sure if the agent is a Mr. or Ms., simply use their first and last name together instead.
[2] - Many agents say to "start with your hook." In this instance, my hook is the tagline. Taglines, by nature, are created to get attention quickly and pique interest in a single sentence. If that's not also the definition of a good query hook then I don't know what is. (please note: a tagline is not the same thing as a logline.)
[3] - Introduce the main characters by name.
[4] - State the inciting incident and an efficient description of the characters' main character trait at the start of the story. Every good story has a character change by the end. If you show a clear starting point, the agent can already imagine how things might change over the course of the story. By the end of the first sentence in your first paragraph, the agent should already have an idea of this story's main focus.
[5] - By the end of the first paragraph, the main premise of the plot should clearly be in motion. If you're referring to story structure to build your pitch, this would be your break into act two.
[6] - The second paragraph of the pitch shows the main conflict, as it is realized by the MC at the midpoint of the story.
[7] - The third paragraph of the pitch shows how it all just got horribly worse (the all is lost moment), and the decision that must be made to go forward into the finale (break into act three).
[7 1/2] - Word choice in your pitch is vital to enticing a request. The word choice throughout this pitch hints at the theme of honesty and falsehood, and all the opposing forces between those things. Also, you don't have to be super-detailed to get your point across. The point of the story is clear without really giving anything away. That doesn't happen by accident. It took a lot of time and effort to put this pitch together. It's probably the most important single page of writing you will do for your novel.
[8] - Book titles of any kind are in ALL CAPS. And remember, your title is still part of your pitch. It should have a clear relevance to the premise. Yes, even if it gets changed by an editor later, you can't just slap any old title on your novel (especially in e-queries, where the title is part of your subject line -- make it snap).
[9] - Genre/category in two words or less. (For example, Young Adult Urban Fantasy Murder Mystery = WRONG. I would just call it a YA fantasy.) Word count, ending in "000". With short fiction, I round off my word count to the tens or hundreds. With a novel-length piece, round to the nearest thousand. And this should go without saying but that better be a final draft word count. Don't estimate! Don't query a novel that isn't finished!
[10] - Follow the agent's/agency's individual submission guidelines. No harm in outright stating that you've done so, either.
[11] - If other agents are reading your requested manuscript (not just other agents have been queried), it is both courteous and professional to let this agent know they have some competition already started in the game.
[12] - An efficient description of what you write and your current career goal. Don't go overboard! One or two short sentences is all you really need. (And yes, you read that right. I'm not planning on publishing any novel-length SF/F works in the foreseeable future (unless they are YA), although I will likely continue writing/publishing my SF/F short fiction. I'm trying to channel my focus a bit more. This is a decision I just made within the past few months, and haven't really talked about it much here.)
[13] - Publication credits (preferably fiction), if you have any. If you don't, don't sweat it. If any of your credits include a book title, again, put it in all caps. If you used a pen name, say it. Also, at the very least, name the publisher and the year of publication. This makes it easier for the agent to find if they choose to read your published work.
[14] - Any other relevant credits. I love mentioning Writer Unboxed, even though it is an unpaid blog contribution. The website has won awards, and I'm part of it. In my opinion that's worth mentioning. Just remember the key word here is relevance. I was a journalist/editor for my high school newspaper... but no one really cares about that. Seriously.
[15] - Personalizing the query to this particular agent. By this point, the agent already knows whether or not they're interested. This is just the icing on the cake, the cherry on top, whatever. It shows you're professional and you did your homework. The key here? NO BULLSHITTING. Nothing that I said there is empty flattery. I did more than the usual jumping jacks when this agent requested my manuscript because of how much I learned about her beforehand. Also, I'm never one to compare my novel or my writing style to someone else who is published and/or successful. Too risky, in my opinion. What if the agent doesn't agree? So I simply let them know which of their clients' work I enjoy. Who you are as a reader says a lot about who you are as a writer.
[16] - Thank them. But only once, and the end is the best place. Anything more than that makes you look desperate. (It's okay to actually be desperate, just don't act like you are)
[17] - Sign the letter with your REAL NAME.
[18] - Basic contact information = home address, phone number, email address
[18 1/2] - Contact info goes at the bottom for an e-query, at the top for a snail mail query.
[19] - Extended contact information and/or other places the agent can find info about you = website, blog, twitter handle, etc. Personally, I think two things here is more than enough for this stage.
[20] - CLEAN WRITING THROUGHOUT. It's one page -- no excuses. NO typos. NO punctuation errors. NO overworded dribble. Keep it professional and to the point. Also a good idea to have someone else look it over and offer feedback before you send it out.
I hope that sharing this has helped you all in some way or another. If you have any questions -- about anything -- please state them in the comments, and I'll do my best to answer. Good luck with your agent search!
Happy querying,
~Lydia
I've been putting off sharing my "successful query" for a while because, although it has resulted in multiple manuscript requests--both with and without sample pages accompanying it--I just don't feel qualified to give specific advice in this area before I have an agent.
But I guess that way of thinking is a bunch of ridiculous hoopty-doo, really. This query letter did its job, and it did it well. So here's my personal breakdown of why I think it worked.
First and foremost, I don't send out the same exact query letter to every single agent. The story pitch is the same in all of them, but the rest of the letter is customized. The sample I'm going to show here is not an exact replica of every query letter I sent. It is unique to this particular agent (who, for now, shall remain anonymous).
Dear Ms. Agent: [1]
Sometimes the worst failures are born from the best intentions. [2]
Diana Atkins [3] has always considered herself trustworthy and honest, so when Ben "the Italian stallion" Attillio [3] confesses to her on the last day of school that he is gay, she promises not to tell anyone. [4] But then he asks her to pose as his fake girlfriend until he determines how to come out of the closet. Diana agrees to do it on three conditions: it is only for the summer, she will not outright lie to anyone, and he has to repay her for the inconvenience.[5]
But fake dating still requires the basics of real dating--doing things together--and midway through their elaborate charade Diana realizes she's falling in love with Ben, despite her attempts to avoid it. He may be gay but she is straight, and the boundaries of their playing field are starting to blur. She knows Ben can't reciprocate her feelings, though, and keeps them secret to preserve the first real friendship she's ever had.[6]
Just as it seems Ben is finally on a path toward acceptance from his homophobic family, he reveals a secret of his own he'd been keeping all summer--a lie more devastating than any hidden truth. Now Diana must decide between losing a friend or enabling an enemy, between following her head or following her heart.[7]
SUMMER HOAX [8] is a young adult novel of 76,000 words, [9] available upon request. The first chapter (ten pages) has been copied below this letter. [10] At this time, three other agents are reviewing requested material.[11]
I write fiction both with and without LGBT themes. Although I also write speculative fiction, I am currently focusing my novel-writing on contemporary women's fiction and young adult. [12] My short fiction is published under the pen name Lydia Sharp in the fantasy anthology SHADOWS & LIGHT (Pill Hill Press, 2009), and in the horror anthology FLESH & BONE (Pill Hill Press, 2010). [13] I am also a semi-regular contributor to Writer Unboxed (www.writerunboxed.com), which has been named one of "Writer's Digest 101 Best Websites For Writers" the past four years in a row.[14]
I was first introduced to you through [redacted]. I was even more impressed when I looked up your recent deals on Publisher's Marketplace. I am especially looking forward to the release of [redacted] by [redacted] and [redacted] by [redacted]. [15]
Thank you for considering my work. I look forward to hearing from you! [16]
Sincerely,
Olivia [redacted] [17]
home address
phone number
email address [18]
blog
twitter handle [19]
[20]
[1] - I'm keeping this person anonymous because she's still reading my manuscript at the moment, but you should always formally address the agent by their name. If you're honestly not sure if the agent is a Mr. or Ms., simply use their first and last name together instead.
[2] - Many agents say to "start with your hook." In this instance, my hook is the tagline. Taglines, by nature, are created to get attention quickly and pique interest in a single sentence. If that's not also the definition of a good query hook then I don't know what is. (please note: a tagline is not the same thing as a logline.)
[3] - Introduce the main characters by name.
[4] - State the inciting incident and an efficient description of the characters' main character trait at the start of the story. Every good story has a character change by the end. If you show a clear starting point, the agent can already imagine how things might change over the course of the story. By the end of the first sentence in your first paragraph, the agent should already have an idea of this story's main focus.
[5] - By the end of the first paragraph, the main premise of the plot should clearly be in motion. If you're referring to story structure to build your pitch, this would be your break into act two.
[6] - The second paragraph of the pitch shows the main conflict, as it is realized by the MC at the midpoint of the story.
[7] - The third paragraph of the pitch shows how it all just got horribly worse (the all is lost moment), and the decision that must be made to go forward into the finale (break into act three).
[7 1/2] - Word choice in your pitch is vital to enticing a request. The word choice throughout this pitch hints at the theme of honesty and falsehood, and all the opposing forces between those things. Also, you don't have to be super-detailed to get your point across. The point of the story is clear without really giving anything away. That doesn't happen by accident. It took a lot of time and effort to put this pitch together. It's probably the most important single page of writing you will do for your novel.
[8] - Book titles of any kind are in ALL CAPS. And remember, your title is still part of your pitch. It should have a clear relevance to the premise. Yes, even if it gets changed by an editor later, you can't just slap any old title on your novel (especially in e-queries, where the title is part of your subject line -- make it snap).
[9] - Genre/category in two words or less. (For example, Young Adult Urban Fantasy Murder Mystery = WRONG. I would just call it a YA fantasy.) Word count, ending in "000". With short fiction, I round off my word count to the tens or hundreds. With a novel-length piece, round to the nearest thousand. And this should go without saying but that better be a final draft word count. Don't estimate! Don't query a novel that isn't finished!
[10] - Follow the agent's/agency's individual submission guidelines. No harm in outright stating that you've done so, either.
[11] - If other agents are reading your requested manuscript (not just other agents have been queried), it is both courteous and professional to let this agent know they have some competition already started in the game.
[12] - An efficient description of what you write and your current career goal. Don't go overboard! One or two short sentences is all you really need. (And yes, you read that right. I'm not planning on publishing any novel-length SF/F works in the foreseeable future (unless they are YA), although I will likely continue writing/publishing my SF/F short fiction. I'm trying to channel my focus a bit more. This is a decision I just made within the past few months, and haven't really talked about it much here.)
[13] - Publication credits (preferably fiction), if you have any. If you don't, don't sweat it. If any of your credits include a book title, again, put it in all caps. If you used a pen name, say it. Also, at the very least, name the publisher and the year of publication. This makes it easier for the agent to find if they choose to read your published work.
[14] - Any other relevant credits. I love mentioning Writer Unboxed, even though it is an unpaid blog contribution. The website has won awards, and I'm part of it. In my opinion that's worth mentioning. Just remember the key word here is relevance. I was a journalist/editor for my high school newspaper... but no one really cares about that. Seriously.
[15] - Personalizing the query to this particular agent. By this point, the agent already knows whether or not they're interested. This is just the icing on the cake, the cherry on top, whatever. It shows you're professional and you did your homework. The key here? NO BULLSHITTING. Nothing that I said there is empty flattery. I did more than the usual jumping jacks when this agent requested my manuscript because of how much I learned about her beforehand. Also, I'm never one to compare my novel or my writing style to someone else who is published and/or successful. Too risky, in my opinion. What if the agent doesn't agree? So I simply let them know which of their clients' work I enjoy. Who you are as a reader says a lot about who you are as a writer.
[16] - Thank them. But only once, and the end is the best place. Anything more than that makes you look desperate. (It's okay to actually be desperate, just don't act like you are)
[17] - Sign the letter with your REAL NAME.
[18] - Basic contact information = home address, phone number, email address
[18 1/2] - Contact info goes at the bottom for an e-query, at the top for a snail mail query.
[19] - Extended contact information and/or other places the agent can find info about you = website, blog, twitter handle, etc. Personally, I think two things here is more than enough for this stage.
[20] - CLEAN WRITING THROUGHOUT. It's one page -- no excuses. NO typos. NO punctuation errors. NO overworded dribble. Keep it professional and to the point. Also a good idea to have someone else look it over and offer feedback before you send it out.
I hope that sharing this has helped you all in some way or another. If you have any questions -- about anything -- please state them in the comments, and I'll do my best to answer. Good luck with your agent search!
Happy querying,
~Lydia
Wednesday, December 8, 2010
Nailing Your Teen Voice
When I start a new project, I usually have a good idea of the viewpoint character's unique voice. But with YA-writing you also have to keep in mind that teens have an altogether different perspective on life than adults. This is the main thing that sets it apart as its own category, not really a genre. Within adult and YA you have genres such as science fiction, fantasy, romance, thriller, etc. But there is a huge difference between, say, for instance, YA romance and adult romance. I shouldn't even have to say it outright for you to know what I mean. It's that obvious.
Teens are not adults. They're young adults. And the difference this creates in your character perspective is as stark as night and day.
Kristin Nelson over at Pub Rants blogged about this recently. And it made me realize that, yes, this is something you would definitely want to focus on during revisions, if you're a YA writer. One of the main reasons YA manuscripts are rejected is because they don't feel authentic to the teen voice, no matter how awesome your story is. You have to remember that teens are your target audience, and they are not afraid to call bullshit on someone who doesn't know squat about what it's like to be in their shoes.
As adults, we've all lived through the teen years already. But it's easy to forget what it was like, isn't it? When I write YA, I have to take everything I've learned since high school and flush it down the toilet. What's left?
Mostly, the unknown. The number one reason a YA manuscript seems too "adult" is because the teen character knows too much about the life they haven't experienced yet. Period.
So throughout your story, you have to continually ask yourself, is this something I would have really thought at that age? Would I have honestly come to that conclusion in that particular circumstance?
More often than not, the teen character acts on impulse. Even the know-it-alls. Even the goody-goodies. Even the ones who think they've thought everything through, they can only draw on so much to make their decisions. Everything they've experienced up to this point has been as a kid. A child. They haven't lived as an adult yet. They may think they have a clue about what's what, but they so don't.
And it's up to you as the writer to present that conflict realistically.
A teen is a teen is a teen, no matter what time period or situation they are in. So again it's all about the perspective. Teens have issues with their parents. They have issues with their siblings. They have issues with their teachers, their peers, their station in life... their everything. As a teen, nothing is easy.
This doesn't mean every teen POV you write is a cardboard cutout of the sarcastic sulky nonmotivated teen. Every teen has a motivation, or a joy, for something, even if they haven't realized what that something is yet. And you can most definitely write vastly different character types while staying true to the teen perspective.
For example, the MC in my YA novel SUMMER HOAX is almost a complete polar opposite of the MC in my newest YA novel, SOCIAL GRACES, and both of them are nowhere near the same as the MC in my currently-on-the-back-burner YA novel, FINDING ME. All are about the same age, but their individual stories show just how different people of the same age can be.
This is where it gets tricky. You have to make them the same, yet completely different. How?
Know your characters as individuals. They may not have much experience in life yet, but they do have some experience to draw on. Whatever that happens to be, milk it. And when you truly step into your character's shoes, you might be surprised what comes out on the page.
In the following scene snippet, the MC has just moved into a new house in the country after living in the city all her life.
© 2010 by Lydia Sharp
There's a lot of nuance in that little snippet (like, her relationship with her dad is pretty casual--he didn't really get mad at her for smoking but her mother would have--and she's so bored she can't stand it, and she's not exactly keen on being tall for a girl).
The thing I want to highlight, though, is her final comment. She could have easily just said, "I hate it here." But instead she made it her own and took it a step further, "I think I wanna move in with Uncle Jack and Aunt Mike." She's not comfortable in this new environment. She wants to get away so badly that she's actually considering her options. And those options, for her, do not include getting a job and finding her own place. That's part of what makes her who she is. She has family members in her comfort zone. To her, in that moment, there's no contest.
And speaking of moments, teens rarely look far beyond the moment they're in. At most a year, and that's usually only in relation to school expectations or some other major event. For example, my baby sister is due next August. Or something like that. Something that they know will significantly change their life, although they're not sure just how it will change yet.
Adults have an entirely different perspective on "future life." There is more planning involved. YA lit is full of impulse actions, decisions made purely on instinct, reacting to the consequences as they come. A really great example of how to do this well is in Mindi Scott's debut novel, FREEFALL. I'm almost done reading it, and I have to say, it has one of the best teen voices I've ever read. Study it.
Referring back to the snippet above, notice she says, "What do people my age do for fun around here?" Not, "What do kids my age do for fun around here?" Teens DO NOT refer to themselves as kids, unless they're joking in some way. In my experience, that is a huge red flag that the author isn't truly in the teenager's head.
The number one way to improve your skills as a YA writer is to read, read, read as many YA novels as you possibly can. (Janet Reid says you shouldn't even think about writing YA until you've read at least a hundred YA novels. Extreme? Not in the slightest.) When you find ones that you like, study them. When agents recommend certain authors because of their authentic teen voice, study them. This doesn't happen by accident. It isn't the result of an inborn writing talent. As an adult trying to tap into the teen perspective, this is work, and as such, requires a concerted effort to be successful.
But it's not impossible.
Happy (teen) writing,
~Lydia
Teens are not adults. They're young adults. And the difference this creates in your character perspective is as stark as night and day.
Kristin Nelson over at Pub Rants blogged about this recently. And it made me realize that, yes, this is something you would definitely want to focus on during revisions, if you're a YA writer. One of the main reasons YA manuscripts are rejected is because they don't feel authentic to the teen voice, no matter how awesome your story is. You have to remember that teens are your target audience, and they are not afraid to call bullshit on someone who doesn't know squat about what it's like to be in their shoes.
As adults, we've all lived through the teen years already. But it's easy to forget what it was like, isn't it? When I write YA, I have to take everything I've learned since high school and flush it down the toilet. What's left?
Mostly, the unknown. The number one reason a YA manuscript seems too "adult" is because the teen character knows too much about the life they haven't experienced yet. Period.
So throughout your story, you have to continually ask yourself, is this something I would have really thought at that age? Would I have honestly come to that conclusion in that particular circumstance?
More often than not, the teen character acts on impulse. Even the know-it-alls. Even the goody-goodies. Even the ones who think they've thought everything through, they can only draw on so much to make their decisions. Everything they've experienced up to this point has been as a kid. A child. They haven't lived as an adult yet. They may think they have a clue about what's what, but they so don't.
And it's up to you as the writer to present that conflict realistically.
A teen is a teen is a teen, no matter what time period or situation they are in. So again it's all about the perspective. Teens have issues with their parents. They have issues with their siblings. They have issues with their teachers, their peers, their station in life... their everything. As a teen, nothing is easy.
This doesn't mean every teen POV you write is a cardboard cutout of the sarcastic sulky nonmotivated teen. Every teen has a motivation, or a joy, for something, even if they haven't realized what that something is yet. And you can most definitely write vastly different character types while staying true to the teen perspective.
For example, the MC in my YA novel SUMMER HOAX is almost a complete polar opposite of the MC in my newest YA novel, SOCIAL GRACES, and both of them are nowhere near the same as the MC in my currently-on-the-back-burner YA novel, FINDING ME. All are about the same age, but their individual stories show just how different people of the same age can be.
This is where it gets tricky. You have to make them the same, yet completely different. How?
Know your characters as individuals. They may not have much experience in life yet, but they do have some experience to draw on. Whatever that happens to be, milk it. And when you truly step into your character's shoes, you might be surprised what comes out on the page.
In the following scene snippet, the MC has just moved into a new house in the country after living in the city all her life.
I go back to my room for a smoke by the window. Rain splashes through the screen, misting my face. What do people my age do for fun around here? And how do you even get anywhere? Certainly can't walk.SOCIAL GRACES
"Put that out," Dad says behind me. "If your mother sees you smoking in the house she'll have a cow."
I thought he was still outside. The moving van debacle must be over. "Don't say 'have a cow', Dad. It's not cool anymore." Or ever, coming out of his mouth. I snub out my cigarette on the window sill and fall back on the mattress.
Dad sits next to me. Crosses his legs straight out in front of him. Goofy-ass gangly legs. I have him to thank for my freakish height. "What do you think?" he says.
"I think I wanna move in with Uncle Jack and Aunt Mike."
© 2010 by Lydia Sharp
There's a lot of nuance in that little snippet (like, her relationship with her dad is pretty casual--he didn't really get mad at her for smoking but her mother would have--and she's so bored she can't stand it, and she's not exactly keen on being tall for a girl).
The thing I want to highlight, though, is her final comment. She could have easily just said, "I hate it here." But instead she made it her own and took it a step further, "I think I wanna move in with Uncle Jack and Aunt Mike." She's not comfortable in this new environment. She wants to get away so badly that she's actually considering her options. And those options, for her, do not include getting a job and finding her own place. That's part of what makes her who she is. She has family members in her comfort zone. To her, in that moment, there's no contest.
And speaking of moments, teens rarely look far beyond the moment they're in. At most a year, and that's usually only in relation to school expectations or some other major event. For example, my baby sister is due next August. Or something like that. Something that they know will significantly change their life, although they're not sure just how it will change yet.
Adults have an entirely different perspective on "future life." There is more planning involved. YA lit is full of impulse actions, decisions made purely on instinct, reacting to the consequences as they come. A really great example of how to do this well is in Mindi Scott's debut novel, FREEFALL. I'm almost done reading it, and I have to say, it has one of the best teen voices I've ever read. Study it.
Referring back to the snippet above, notice she says, "What do people my age do for fun around here?" Not, "What do kids my age do for fun around here?" Teens DO NOT refer to themselves as kids, unless they're joking in some way. In my experience, that is a huge red flag that the author isn't truly in the teenager's head.
The number one way to improve your skills as a YA writer is to read, read, read as many YA novels as you possibly can. (Janet Reid says you shouldn't even think about writing YA until you've read at least a hundred YA novels. Extreme? Not in the slightest.) When you find ones that you like, study them. When agents recommend certain authors because of their authentic teen voice, study them. This doesn't happen by accident. It isn't the result of an inborn writing talent. As an adult trying to tap into the teen perspective, this is work, and as such, requires a concerted effort to be successful.
But it's not impossible.
Happy (teen) writing,
~Lydia
Monday, December 6, 2010
Navigating Your Story
"Writing is like steering a ship: one will inevitably-- and constantly-- fall off course on the way to one's destination."
~Noah Lukeman, The First Five Pages, p. 170How many times have you been reading a novel and got to a certain point where you just had to stop and say, "What happened to the story I thought I was reading? Where are we going?"
It usually happens somewhere in the middle. The book I'm reading now is excellent, but last night I was nearing "WTF just happened" territory near page 200 or so. The pace-- fast and intense up to that moment-- suddenly slowed to a crawl. Fortunately, it picked up again... within about 20 pages. Some readers might not have stuck it out like I did. The book has been so good up to that point, though, that I felt like I had to keep plugging through.
But honestly, that whole (very long) chapter in the middle felt like a lot of filler. Like the author took one point that could have been presented in half the space and stretched it out for no real reason whatsoever.
Filler. Not a good thing. Especially when it gives an inconsistent feel to the pacing and rhythm of the story.
When editing your own story, it's difficult to see the possibly boring sections, scenes that lack focus. Every page has to feel like it is driving toward something. How do you ensure that? How do you stay focused on the distant point on the horizon?
Don't be afraid to chop.
"I leave out the parts that people skip."
~Elmore Leonard, novelistThis is both the easiest action (physically) and the hardest (emotionally). If I'm considering a big chop, I'll paste it onto its own document and save it separately, just in case I realize later that I needed it. Nine times out of ten, once it's gone from the master file, it's gone for good. I've cut everything from a page or two, to a full scene, to a full chapter... or more.
If you can read through the story after the big chop, and it doesn't feel like you've really lost anything important-- haven't lost the drive toward the climax, the MC's main focus-- then you're better off without it, no matter how beautifully written it had been.
I've read published novels that had me literally itching to tear out pages. You don't need this! At! All! But I don't (especially since most of what I read is borrowed from the library). This always makes me think of my own novels, though, and how a complete stranger might view them. I don't want anyone ripping pages out of my novels. So I do it first.
Give each scene/chapter a clear goal.
"Most instruction in writing scenes begins with sound advice, send your character into the scene with a goal. Well, duh. You would be surprised, though, in how many middle scenes in how many manuscripts there seems to be no particular reason for a character to go somewhere, see someone, learn something, or avoid something. What do they want?"
~Donald Maass, The Fire In Fiction, p. 65And that goal must in some way be connected to the ultimate goal of the climax. As you read through your complete manuscript, at the end of each scene or chapter see if you can come up with a one-sentence description of the goal. It doesn't need to be outright stated in the actual story. But if you're able to decipher it by simply reading the story, then it's clear. If not, then that might be the chapter your reader gives up on you.
This is almost what happened with the book I mentioned above. Page for page, it didn't seem to be going anywhere. When I got to the end of that chapter, I still didn't see the need for so much set-up, so it kind of annoyed me. Like, just get to the point already and quit wasting my time with all this fluff.
Harsh? Not really. I'm a writer so I think I'm much more forgiving than the average reader. I can see what the author thought they were doing here or there, even if it didn't work. The majority of readers know nothing about that. All they know is that it either kept their interest or it didn't. They can't explain why they put the book down. They just did.
The most common argument I get from new writers regarding this is, But this scene adds character development.
EVERY SCENE SHOULD ADD CHARACTER DEVELOPMENT. Period. You don't need to write a boring scene to show character. Everything your character does and says shows his/her character. Keep it interesting, and keep it focused on the outworking of the plot.
Tension on every page.
"When you don't have micro-tension, you are slowly losing your reader. When you do have micro-tension, you can do anything."
~Donald Maass, The Fire In Fiction, p. 189The main reason readers lose interest is because they stop caring what happens next. To keep them engaged you need micro-tension. It's not always about the big picture, per se, but what is happening in the moment. If that moment is dragged out too long without any clear purpose, the readers stop caring. They put the book down.
The best way to create tension is with conflict. Many new writers see this advice and immediately think that conflict means a knock-down drag-out argument between characters or some kind of physical confrontation. While that is sometimes true, most of the time that is not the case.
When you think of conflict, think of emotions. Tension and conflict are highly related to scene goals. At the beginning of any given scene, the viewpoint character always has a clear emotion, which sets the tone for what happens next. The easiest way to create conflict for that character is to force upon him/her the opposite of what they want. The events of the scene that follows should create emotional conflict, which keeps the tension high.
Any scenes that feel emotionally static need to be reworked.
Readers don't finish books that don't keep them turning pages, and they certainly don't recommend them either. Analyzing, cutting, and rewriting is a major part of editing a novel-length piece. We all have to do it with each and every project at some point or another. Keeping your focus is essential to navigating these choppy waters of revision.
Happy Revising,
~Lydia
Friday, December 3, 2010
Friday Vlog-apalooza
Vlogs are a great way to reach people, writers included. One of these days, Joe and I are going to start vlogging. In the meantime here are some awesome vlogs you may have missed. Some are recent, some not-so recent. All are from people who's names you should know, and if you didn't before, you will now. Enjoy!
These first few are from WriteOnCon 2010, which took place back in August. These ladies are wonderfully knowledgeable, and also fun.
Martha Mihalick, editor - website, @curiousmartha
Molly O'Neill, editor - website, @molly_oneill
Holly Root, agent - website, @hroot
Next up is for the romance writers. A bit of insight from YA author Lisa Schroeder. This is the best romance-writing advice I've seen in... no, ever. Seriously.
And for any writer-mamas out there (or anyone else who has a hard time balancing writing with Real Life), YA author Lindsey Leavitt offers some realistic-yet-humorous support. (Cannot wait to read SEAN GRISWOLD'S HEAD. Just saying.)
To wrap it up, here is YA author Karsten Knight, one of the YA Rebels (who are are all hilarious and informative. usually). The cover for Karsten's upcoming debut novel WILDEFIRE was just recently revealed.
IS IT NOT AWESOME?
Yep. Can't wait for that one either. Take it away, Karsten.
Bonus! Here's a more serious writing-related vlog from another YA Rebel, Victoria Schwab. Turns out she's a good doodler as well as a fabulous author. Who knew? Follow the YA Rebels on twitter, here, and you'll never miss an upload.
Have a great weekend, everyone!
~Lydia
These first few are from WriteOnCon 2010, which took place back in August. These ladies are wonderfully knowledgeable, and also fun.
Martha Mihalick, editor - website, @curiousmartha
Molly O'Neill, editor - website, @molly_oneill
Holly Root, agent - website, @hroot
Next up is for the romance writers. A bit of insight from YA author Lisa Schroeder. This is the best romance-writing advice I've seen in... no, ever. Seriously.
And for any writer-mamas out there (or anyone else who has a hard time balancing writing with Real Life), YA author Lindsey Leavitt offers some realistic-yet-humorous support. (Cannot wait to read SEAN GRISWOLD'S HEAD. Just saying.)
To wrap it up, here is YA author Karsten Knight, one of the YA Rebels (who are are all hilarious and informative. usually). The cover for Karsten's upcoming debut novel WILDEFIRE was just recently revealed.
IS IT NOT AWESOME?
Yep. Can't wait for that one either. Take it away, Karsten.
Bonus! Here's a more serious writing-related vlog from another YA Rebel, Victoria Schwab. Turns out she's a good doodler as well as a fabulous author. Who knew? Follow the YA Rebels on twitter, here, and you'll never miss an upload.
Have a great weekend, everyone!
~Lydia
Wednesday, December 1, 2010
December Is NaNoEdMo - National Novel Editing Month
This month I'm going to focus on some specifics of editing and revising. What qualifies me to give advice in this area? Absolutely nothing.
Okay, that's a lie. Sort of. The thing is, no one really knows what they're doing until they try and fail and try and fail and try and... hey, looks like that worked.
As with anything else, I'm simply going to relay what works for me. That's all I can do. And only you can determine whether or not it will work for you.
First and foremost, it's best to have another set of trustworthy eyes read your story. If you've never worked with a CP (critique partner), you might be surprised by how much you don't see in your own work. They find plotholes, awkward wording, repetitive wording, pacing issues... even if someone says "I can't explain it but this just didn't feel right", I take it seriously, because that means I'm not getting across what I'd intended.
For example, in SUMMER HOAX the 16 y/o MC has a summer job as a waitress. She was serving alcohol in one of the scenes. My CP said, "she's too young to serve alcohol." Crap. I knew that. It just hadn't occurred to me when I wrote the scene. It crushed me at first -- I thought I was going to have to either rework the events of the entire scene or cut it completely, and I didn't want to do either of those -- but then I found a way to keep the scene as is just by changing which character served the drinks. The rest of the scene remained the same, and now it's more believable.
The slightest little thing can put off a reader enough to NOT finish reading your book. It makes you, as the author, look unreliable, or even stupid. Like, how could you overlook something so basic? Yeah. Readers are brutal like that.
Even with a CP, though, the revising and editing is done on your own. As was the case above, you have to figure out how to fix the mishaps yourself. My CP didn't tell me how to fix it, she just pointed out the error. I had to take it from there.
And that's what the best CPs do. Period. They're not there to hold your hand and walk you through your own story. They've got their own novels to stress over.
Once a first draft is complete, take a break from the story. Don't look at it at all. (This won't stop you from thinking about it, though.) The length of your break is dependent upon you -- your current skill level, your current situation, etc. -- not necessarily dependent upon the story.
The first time you look at your novel after that break, you're going to want to burn it. Guaranteed. You will change the title to THIS TOTALLY SUCKS TOTAL SUCKAGE WHAT WAS I THINKING, or something to that effect.
And you're right. It does suck in its current state. But it's not unfixable. Now the real fun starts.
One of the first things I work on is story flow. I re-read the entire novel from start to finish, and ask myself:
The answer to that last one is always YES. When writing a first draft, you, as the author, are learning about the characters and the story as you going along. For me, this often means writing more than is necessary for the story, to solidify certain things in my head. More often than not, these things get cut later, or reworded to be more efficient and purposeful.
My first drafts almost always have a higher word count than my second drafts.
You might also find, at this point, that a certain scene or event is either missing or in the wrong place. If it's missing, that means it's still in your head, but you didn't realize you needed it until now. Write the scene and add it to the appropriate chapter. If it's in the wrong place, simply cut and paste.
Revising SUMMER HOAX felt like a massacre, at times. For example, I had to cut an entire chapter out of the middle of Act Three, then selected a few paragraphs from it, added those to the final chapter, and deleted the rest of it. The reason being, the MC's ending revelation that showed the main point of her character change had occurred before the climax.
Um... oops. But stuff like this actually happens a lot. Especially in the final chapters, when you know exactly how everything is going to end, you just haven't put it to the page yet. Events and major turning points get muddled and confused. Sometimes you get ahead of yourself. Sometimes you get behind. Or too repetitive. Or too vague. Etc, etc, etc.
You can't see these things when you're "in the moment", writing a first draft. And sometimes you don't even see them until a CP points them out.
A first draft is written with your heart, a second draft is written with your head.
Ironing out any wrinkles you find in the story flow will take a good deal of time and effort, analyzing every chapter and scene. Most novels are not polished enough for publication in a mere month. It could take you just as long to complete only this step as it took you to write the first draft. But it's only the beginning, dear writer-friends...
Come back Monday for more editing fun. Or editing hell. Whichever.
Happy revising,
~Lydia
Okay, that's a lie. Sort of. The thing is, no one really knows what they're doing until they try and fail and try and fail and try and... hey, looks like that worked.
As with anything else, I'm simply going to relay what works for me. That's all I can do. And only you can determine whether or not it will work for you.
First and foremost, it's best to have another set of trustworthy eyes read your story. If you've never worked with a CP (critique partner), you might be surprised by how much you don't see in your own work. They find plotholes, awkward wording, repetitive wording, pacing issues... even if someone says "I can't explain it but this just didn't feel right", I take it seriously, because that means I'm not getting across what I'd intended.
For example, in SUMMER HOAX the 16 y/o MC has a summer job as a waitress. She was serving alcohol in one of the scenes. My CP said, "she's too young to serve alcohol." Crap. I knew that. It just hadn't occurred to me when I wrote the scene. It crushed me at first -- I thought I was going to have to either rework the events of the entire scene or cut it completely, and I didn't want to do either of those -- but then I found a way to keep the scene as is just by changing which character served the drinks. The rest of the scene remained the same, and now it's more believable.
The slightest little thing can put off a reader enough to NOT finish reading your book. It makes you, as the author, look unreliable, or even stupid. Like, how could you overlook something so basic? Yeah. Readers are brutal like that.
Even with a CP, though, the revising and editing is done on your own. As was the case above, you have to figure out how to fix the mishaps yourself. My CP didn't tell me how to fix it, she just pointed out the error. I had to take it from there.
And that's what the best CPs do. Period. They're not there to hold your hand and walk you through your own story. They've got their own novels to stress over.
Once a first draft is complete, take a break from the story. Don't look at it at all. (This won't stop you from thinking about it, though.) The length of your break is dependent upon you -- your current skill level, your current situation, etc. -- not necessarily dependent upon the story.
The first time you look at your novel after that break, you're going to want to burn it. Guaranteed. You will change the title to THIS TOTALLY SUCKS TOTAL SUCKAGE WHAT WAS I THINKING, or something to that effect.
And you're right. It does suck in its current state. But it's not unfixable. Now the real fun starts.
One of the first things I work on is story flow. I re-read the entire novel from start to finish, and ask myself:
- Does the story flow naturally from one plot point to the next?
- Do any of the character motives feel forced or unrealistic?
- Is there a clear goal in each scene?
- Is there a clear conflict in each scene?
- Does anything feel like it's moving too quickly, or dragging?
- Are there any unnecessary info-dumps?
The answer to that last one is always YES. When writing a first draft, you, as the author, are learning about the characters and the story as you going along. For me, this often means writing more than is necessary for the story, to solidify certain things in my head. More often than not, these things get cut later, or reworded to be more efficient and purposeful.
My first drafts almost always have a higher word count than my second drafts.
You might also find, at this point, that a certain scene or event is either missing or in the wrong place. If it's missing, that means it's still in your head, but you didn't realize you needed it until now. Write the scene and add it to the appropriate chapter. If it's in the wrong place, simply cut and paste.
Revising SUMMER HOAX felt like a massacre, at times. For example, I had to cut an entire chapter out of the middle of Act Three, then selected a few paragraphs from it, added those to the final chapter, and deleted the rest of it. The reason being, the MC's ending revelation that showed the main point of her character change had occurred before the climax.
Um... oops. But stuff like this actually happens a lot. Especially in the final chapters, when you know exactly how everything is going to end, you just haven't put it to the page yet. Events and major turning points get muddled and confused. Sometimes you get ahead of yourself. Sometimes you get behind. Or too repetitive. Or too vague. Etc, etc, etc.
You can't see these things when you're "in the moment", writing a first draft. And sometimes you don't even see them until a CP points them out.
A first draft is written with your heart, a second draft is written with your head.
Ironing out any wrinkles you find in the story flow will take a good deal of time and effort, analyzing every chapter and scene. Most novels are not polished enough for publication in a mere month. It could take you just as long to complete only this step as it took you to write the first draft. But it's only the beginning, dear writer-friends...
Come back Monday for more editing fun. Or editing hell. Whichever.
Happy revising,
~Lydia
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