Wednesday, February 3, 2016

Links of Interest

CONTRACTS, THE DANGER OF NON-COMPETITIVE CLAUSES:


SCENES, THE TRUTH OF CHARACTER ARCS:


USING KINDLE SCOUT AS A BOOK LAUNCH TOOL:


MANAGING THE PASSAGE OF TIME IN FICTION:


WRITING MULTIPLE POINTS OF VIEW:


USING ‘WHAT HAPPENS NEXT?’ TO PLOT:


HOW TO FIX A PROBLEM WITH BACKSTORY:


CONTRACTS, THE AUTHOR GUILD FAIR CONTRACT INITIATIVE:


DRAFTING IN LAYERS:


BASICS OF WORLDBUILDING:


USING A SCENE TEMPLATE:


LETTING YOUR NOVEL IDEAS SIMMER:


THE PROBLEM WITH NO CONFLICT BETWEEN CHARACTERS:


USING TWITTER TO CONTACT RESEARCH SOURCES:


BOOK GIVEAWAYS:


BOOK MARKETING TRENDS:


ADDING CONFLICT TO YOUR SCENE:



Monday, February 1, 2016

Stupidity as a Plot Device

Writers often use character stupidity as a plot device.  In some cases, usually in humorous writing, the character is ditzy (charmingly stupid).  That’s fine if that’s what you are writing, but it doesn’t work in most fiction.

Even smart people do stupid things on occasion.  We run the yellow light when it’s turning red or open our mouth when we should keep it shut at work or in social situations.  Momentary stupidity is common in life, and it can be used sparingly in fiction without the reader rolling her eyes.

Stupidity where the character has a chance to think about what’s she’s doing but does the stupid thing anyway always fails as a plot device.  The heroine who has been in hiding for years won’t choose to be at a televised event where she’s likely to appear on camera.  

If she does and is on the kiss cam, and the mob realizes she’s alive and comes after her, then that’s a plot contrivance, and the author has failed.  

If, however, she’s on the scene of a horrendous car wreck and is caught on someone’s cell phone camera pulling a child out of a burning car, and that video appears on YouTube or the local news, then the writer has created a legitimate reason for her to be found.  

Writer laziness disguised as character stupidity is never acceptable.

Wednesday, January 27, 2016

Links of Interest

FORESHADOWING:


IS THAT SCENE NEEDED OR NOT?


MAKING A CHARACTER MORE LIKABLE:


WHAT A GOOD SCENE NEEDS WITH CHECKLIST:


EVERY SCENE SHOULD USE THE FIVE SENSES:


HOW TO EDIT YOUR BOOK:


CREATING EMPATHY FOR YOUR CHARACTER:


MATCHING ACTIONS TO FEELINGS:


THREE WAYS TO KILL YOUR STORY’S TENSION:


INCREASING YOUR STORY’S TENSION:


THE DIFFERENCE BETWEEN SHOW AND TELL:


HOW TO WRITE A BATTLE SCENE, THE BIG PICTURE:


BOOK TRAILERS 101:


ONE AUTHOR’S EXPERIENCE USING BOOKBUB TO ADVERTISE BOOKS:


COMPARING VARIOUS BOOK GIVEAWAY PROGRAMS:



Monday, January 25, 2016

Using a Letter in Narrative

QUESTION:  In my story, important information is revealed by a character reading a letter.  What is the most suitable way to write it?

I’ve written this kind of scene a number of ways.  

When the letter is being viewed by the viewpoint character and isn't terribly long, I've put the text in its entirety on the page but separated it from the regular text by having a space break above and below the letter and an inch-wide margins on both sides.  (The inch is from your normal margin, not from the paper’s edge.)  Some writers put this text in italics.

This method works particularly well when the content isn't highly emotional for the character.  It also works when the character is alone.

For longer letters, particularly those with emotionally charged content, I have a character read it aloud as dialogue to another character.  At certain important points where the character or characters are emotionally affected or the content changes things in a big way, I'll have the reading character stop and express an opinion, feelings, or questions.  A bit of dialogue/discussion between or among the characters will also break up a long monologue to make it easier for the reader to keep up and not be bored with too much information.  

When the character begins reading again, I say something like "Adam continued reading," or "Adam picked the letter up again and continued."

Normally, when a character quotes someone else, you use single quotes to denote it.

“Gramps always said, ‘You reap what you sow. boy.’”

If a character is quoting a letter, and the reader knows he is quoting it, you need only use standard double quotes.
For other types of text used in narrative and for paragraphing in dialogue, check out these articles.




Wednesday, January 20, 2016

Links of Interest

FIRST SCENE STRUCTURE:


HOW TO AVOID THE SIX MOST COMMON PUNCTUATION ERRORS:


CRAFTING AN EFFECTIVE SETTING:


THE TRUE NUMBERS OF ROYALTIES AND ADVANCES:


WHAT TO DO AFTER YOU BUILD YOUR WEBSITE:


IS THAT SUBPLOT LEADING YOU ASTRAY?


WHAT IS YOUR CHARACTER ASHAMED OF?


SCENE STRUCTURE AND CHARACTER ARC:


35 SYNONYMS FOR RAIN AND SNOW:


FINDING AND WORKING WITH BETA READERS:


THINGS FANTASY GETS WRONG ABOUT FIGHTING:


USING BODY LANGUAGE TO STRENGTHEN DIALOG:


BLOG DESIGN:


LONG TERM MARKETING MODELS FOR SELF-PUBS:


THE DIFFERENCE BETWEEN SETTING AND WORLDBUILDING:




Monday, January 18, 2016

Paragraph and Sentence Length in Fiction

QUESTION:  What is the correct length of a paragraph and a sentence when you are writing fiction?

There is no average length for paragraphs, but a really long paragraph is off-putting to the eye on paper and even more off-putting when you are scrolling on a small screen so shorter paragraphs have become the norm for current narrative.

When the average person looks at a page, they want to see some space, not a massive block of text.

The best way to do paragraphs, as a writer, is to vary the paragraph lengths on the page.

I go into much more detail about paragraph lengths in this blog entry.


The same is true of sentence length.

Both sentence and paragraph length are also influenced by what is being written. A narrative description can have a longer length for both, but an action scene would have a shorter length for both.

Some writing teachers suggest varying between long sentences and short sentences in the same paragraph.  

Long sentences are good for leisurely story pace.  Short sentences are perfect for action scenes.  

If you are unsure about how your sentences work with your content, read the sentences aloud.  Sentence problems usually show up while doing this.  

A good critique partner helps, too.  

Wednesday, January 13, 2016

Links of Interest

RESEARCH, NEW YORK PUBLIC LIBRARY OFFERS HISTORICAL ARCHIVES FOR FREE ONLINE:


SELF-PUBS, WHAT IS YOUR PRICING PLAN, PART 2:


THE THREE THINGS YOU NEED IN YOUR SCENE:


BUILDING YOUR PROMOTION TEAM:


CONTRACT CLAUSES, WHEN IS A BOOK OUT OF PRINT?


DESCRIBING MOVEMENT:


EIGHT STRATEGIES FOR MARKETING YOUR BOOK:


DOWNLOAD, WHAT SHOULD YOUR BOOK OUTLINE LOOK LIKE:


WRITER BEWARE’S BEST YEARLY LINKS OF WARNINGS AND CONTRACT ADVICE:


HOW LONG DOES A TWEET LIVE AND HOW TO FIND OUT ABOUT YOUR OLDER TWEETS:


DESIGNING YOUR WEBSITE:


GETTING YOUR BOOK RIGHTS BACK:


COPYRIGHT, CAN DMCA’S “SAFE HARBOR” BE FIXED?


THE FIVE COMPONENTS OF SCENE STRUCTURE:


UNDERSTANDING SHOW, NOT TELL:


DOING AUTHOR INTERVIEWS:


SETTING UP AN AUTHOR WEBSITE:

ADDING EMOTIONAL PEAKS TO YOUR SCENES AND CHAPTERS:


IMPROVING YOUR AUTHOR PLATFORM IN 30 DAYS, DAY 1 (I WON’T LINK TO THE OTHER POSTS):


HOW ESTABLISHED DARK FANTASY AND HORROR WRITERS DEAL WITH THEIR DARK SUBJECTS:


SIX QUALITIES OF BAD WRITING:


WRITING A LOG LINE:


HOW TO CREATE YOUR OWN AMAZON PREVIEW WIDGET:


GRAMMAR, THOSE TRICKY LITTLE DEVILS RELATIVE PRONOUNS:


OPTOMIZING YOUR BOOK DESCRIPTION AT AMAZON:


GRAMMAR, THE DREADED DANGLING MODIFIER:


GRAMMAR, THE MISPLACED MODIFIER:


GETTING THAT FIRST LINE RIGHT:


MAKING THE RIGHT WORD CHOICE: