Monday, June 13, 2016

The Book BIble

I found the book bible for my first novel last week, and it reminded me of how useful one is to have.

A book bible is a paper or digital file that contains all the information collected before, during, and after the book is written.  

Most mentions of a book bible come from authors writing a series, but one is pretty darn useful for a standalone novel.

In POWER’s book bible, I had drawings of the layout of the hero’s house complete with where all the secret hallways, trapdoors, etc., were located.  The compass points were used so I wouldn’t have someone in a bedroom watching the setting sun when the bedroom faced east.  The outside of the house and grounds had their own map.

The horses two characters ride at the beginning have their descriptions and names listed.

Because the main character has a cousin and a brother involved in the plot, I did a family tree.  

Research sources were listed with Dewey decimal numbers and the library or the personal bookshelf where they were.  (This was pre-Internet.)  For later books, I created a file specific to the book in my browser's bookmarks.

I did drawings and descriptions of some of the magical memorabilia in the house, and I listed tricks I could use in various scenes.  

One page was nothing but names I could use for random characters.  Each name was dissimilar from the main characters so readers wouldn’t be confused by a similar sounding or spelled name.  I also picked names that were common in the area where the novel was set.  

Every character had their description, etc., with other details.  If I “cast” the character as an actor I’m familiar with, I’d write that down, too, so I’d be able to hear the correct voice in my head when I wrote dialogue for a character who had been elsewhere for a lot of pages.

I started the novel with most of my info in the bible on the major characters, but I added info for them and others as I created it.  

I usually added things to the bible after I finished writing for the day, or I’d go back over it before I started writing so I wouldn’t lose my writing rhythm.  

Another handy page or two to have, particularly if your book is a fantasy, is a word bible.  Each character’s name, made-up words with a brief definition, place names, and unusual capitalizations are listed.  When your book is edited, this list will keep the copy editor from hassling you about words that may appear to be misspelled.   

Some pages were there for thinking through various plot points, considering possible scenes later in the novel, and general mental doodling.  

All this may appear to be a lot of extra work, but it will be worth it for rewrites, etc., and, maybe, that standalone may turn into a series, and the bible will be worth its weight in gold for the time saved.  

Wednesday, June 8, 2016

Links of Interest

BOOK DISCOVERY SERVICES LIKE BOOKBUB COMPARED:


SUCCESSFUL USE OF SOCIAL MEDIA:


CREATING BELIEVABLE PLOTS AND SUBPLOTS:


YOUR READER RETENTION PLAN, PART 4:


AVOIDING BORING SETTING DESCRIPTION:


DATA ON EBOOK SALES, THE NEWEST AUTHOR EARNING REPORT:


CHOOSING THE RIGHT BOOK COVER:


IN DEFENSE OF CLICHES:


TIPS FOR USING INSTRAGRAM:


FIGURING OUT CHARACTER GOALS:


BETTER PLOTS THROUGH MANIPULATING YOUR READER:


SELF PUBS, USING LOCAL LIBRARIES FOR PROMO:


SHOWING CHARACTER THOUGHTS:


HOW PUBLISHING HELPERS LIKE BOOKTROPE CAN TAKE YOUR MONEY:


PROMO FALLACIES:


INSTAGRAM IS CHANGING THE WAY WE SELL BOOKS:


BULKING UP A CHARACTER:


ONLINE EBOOK CONVERSION TOOLS:


WHICH SOCIAL MEDIA SELLS MORE BOOKS?


CREATING A MEDIA KIT:


USING WORDPRESS TO BUILD AN AUTHOR SITE:


PLOT AND CHARACTER ARCS WORKING TOGETHER:


BRINGING SETTING TO LIFE:


IS THIS IDEA WORTH A NOVEL?


WRITING A SEQUEL THAT WORKS:


HINTS ON USING TWITTER, FACEBOOK, ETC.:


DEVELOPING A GOOD STORY/PLOT:


THE SCOURGE THAT IS THE MISPLACED MODIFIER:


HOW TO DRAW FROM A SIDE HOLSTER:


WHOSE STORY IS IT?


WHAT HAPPENS AFTER THE FIRST DRAFT:


STARTING YOUR BOOK IN THE RIGHT PLACE:


HOW CONFLICT SHOULD DRIVE YOUR STORY:



Monday, June 6, 2016

Stupid in a Sea of Smart

“Idjits!” —Bobby Singer, SUPERNATURAL.

In the last week, I’ve read three books that depended on stupid main characters surrounded by people in the know.  I’m not talking characters who were mentally impaired in some way.  These characters were intelligent enough, but they were in situations where they were totally ignorant and everyone else knew and understood what was going on.  Heck, one book’s pet cat was smarter than its humans.  Sometimes, the main characters even refused to accept what the knowlegable characters knew despite evidence to the contrary.   

I’ve always preferred intelligent characters, but these characters bothered me beyond their behavior.  In each book, the constant need for explanations, protection by the more knowledgable characters, and the utter incompetence sucked the forward motion and interest right out of the book.  

Your main character should be active, not passive, in personality, plot choices, and forward motion, and stupid will suck the active right out of every element of the book.  

This doesn’t mean you should write a “Mary Sue” or a Sherlock Holmes character who understands everything, but you should have a character who has enough knowledge to move forward to gain more knowledge or information as the plot moves forward.  And, by no means, should you ever use stupidity as a major plot device through a book.  

Wednesday, June 1, 2016

Links of Interest

KEEPING YOUR CHARACTERS COMPELLING AFTER THE FIRST DRAFT:


FORENSICS, INJURIES OF THOSE NEAR A CAR BOMB:


BOOK SALES CYCLES, HOW HOLIDAYS EFFECT BOOK SALES, ETC.:


PROMO MATERIAL THAT WORKS:


WHEN YOUR NOVEL IS TOO SH0RT:


SETTING AS A VEHICLE FOR CONFLICT:


GIVING YOUR PROTAG TOUCH CHOICES:


BEST GUNS FOR FICTIONAL DETECTIVES:


TIPS FOR WRITING A BLIND CHARACTER:


A FORMULA FOR WRITING BLURBS:


AN EXCELLENT ARTICLE EXPLAINING COPYRIGHT TO AUTHORS:


THE BEST HISTORICAL RESEARCH METHODS:


UNDERSTANDING TERRORISM’S PSYCHOLOGICAL IMPACT:


HANDSELLING BOOKS:


LEARNING TO READ CRITICALLY:


WRITING RESOURCES:


CONTRACTS, THE GRANTING OF RIGHTS:


CUTTING THE EXCESS VERBAGE:


CHOOSING THE RIGHT WORDPRESS THEME FOR YOUR BLOG:


WHAT MAKES FICTION LITERARY?


USING A MAGNET SIGN ON YOUR CAR TO ADVERTISE YOUR BOOK:




Monday, May 30, 2016

Giving a Reader Questions

Yet more on creating suspense with questions.

A work of fiction should be a series of interlocking questions.  Think of these questions as links in a chain that pulls the reader through each scene and through the novel.  

The questions within the book should be ongoing.  Before you answer one question the reader has, you should have several more set up so the reader doesn't say "oh, now I understand" and put down the book never to finish it.  

The questions can be action questions-- Will the heroine rescue the baby before it crawls into the well?  Will the hero kiss her now?

The questions can be character questions--  What happened to Mary that makes her so nervous around men?  Why does Jim hate Bill?

The questions can be setting questions-- What is beyond the next bend in the road?  Where is the dragon hiding?  Why does the lab have smoke in it?

The questions can be plot questions-- Will Tom rescue Pam from the burning building?  How will he do it?  What did the robber steal from the safety deposit box that the Mafia wants so much?

The questions can be minor questions which can be answered in a few pages-- Will Pam say yes when Tom asks her out?  

The questions can be major questions that take the whole book to answer-- Who killed Bill and why?  

Writing interlocking questions is a complicated dance between the writer and the reader.  The writer wants to give just enough information to involve the reader and urge her forward in the narrative, but not so much information that the reader becomes bored.

The reader sees the questions and their answers as clues and reading the story is a mystery she wants to solve for herself.  The reader not only wants to know what happens next, she also wants to make guesses at what will happen next and why.    

To see the power of interlocking questions, just consider the Harry Potter series.  These books were not only good individual reads full of interlocking questions, the interlocking questions extended through the series.  People talked about these questions, they puzzled over these questions, and they argued over these questions as each book came out.  

If JK Rowling had explained everything early on, the series would not have been so popular, and the readers would not have been so invested in the characters.  

How do you write interlocking questions?  

One trick is to think of yourself as the reader.  What will the reader want to know at that moment in the narrative?  What questions can you answer and what answers can be held back?  

When you are plotting your story out, you will be thinking about the who, what, when, where, and why of each event.  Decide what information from the Five W's the reader needs immediately, and what information can be seeded through the narrative as questions and answers.  

Every answer you give to an important narrative question should lead to more questions-- Jim couldn't possibly have killed Bill, but why has he confessed to the murder?  Could he be protecting someone else?  Who and why?

An excellent way to see how interlocking questions work is to study how a good author uses them.  

Pick a favorite author who really sucks you into their books and keeps you flipping the pages.  Go to the author's website and find the sample chapter or chapters of one of their books.  Print those pages, get the highlighter out, and mark every narrative question you find.  Notice how the small questions and the larger questions work together.  

Or you can pull out a favorite book from your keeper shelf and read it while paying attention to the interlocking questions.

During all this, remember that the writer and the reader have one important question foremost in their heads as they write and read-- What happens next?