A popular post from March 2009
By Josi S. Kilpack
They year is 1999.
The Place is my dining room in my house in Draper, Utah.
The book I'm working on is my first one, Earning Eternity
It happened like this.
I had never written a book before, but had spent the last two months creating this story. I was having a dang good time and loving what I was created, but I'd hit an impasse. I didn't know what came next. I had built conflict, but it wasn't enough. I had great characters, but they weren't enough either. I was faced with that 2/3 sag, where you're not quite ready to end the story, but you're running out of steam. I thought about some of my favorite books, trying to figure out what those authors did. That's when it came to me.
I broke into tears, pushed away from the table and stopped writing for the day. The next day I sat back down, let my fingers hover over the keys and burst into tears again. I couldn't do it. I was a mother, I had a son of my own. I couldn't do it.
Another day passed and I just knew--I just knew that if I didn't do this the book would suffer. To be true to the entire structure of a novel, I had to let my character suffer--REALLY suffer. So I did it. I wrote the car accident that led to the head trauma that led to the death of Kim's son. I cried the whole time.
My husband came home from work and my eyes were red and swollen.
"What happened?"
"Jackson died."
"WHAT?" (Jackson was also the name of a boy in our neighborhood)
"Jackson, in my book, he died."
Husband freezes and looks at me like I'm an alien life form (no worries, I've gotten used to it since then--happens all the time these days) "Huh?"
So I explain it to him; how Jackson's death was necessary, but it broke my heart, and it's just so sad and I'd been really upset about it. I start crying again as I try to explain. He thinks I've truly lost my mind (who's to say I haven't?)
It was my first fictional death, and it hurt to know that I'd done it. And yet, when the book was done I knew that I'd been right--the story did need it. The sacrifice had paid off, never mind the heart ache.
Since then I've become a regular serial killer of characters. Some are important characters, some are just 'props' we don't need anymore. They've died in a myriad of ways, and while I don't usually cry anymore, that's not because it's easy. I don't like random acts of violence any more than the next person, however, in the case of writing a good book-well, there are just times when somebody has to die. Here's why.
Death challenges the deepest fears that we, as humans have. Even those of us with a religious bent worry about death--the mess, the other side, the people left behind. Death is painful on many levels, and that being the case it's a powerful tool of manipulation. That's what we do, you know, we manipulate people into thinking and feeling what we want them to think and feel. Don't try and deny it--you know it's true. And while there are hundreds of ways to create this manipulation of our readers (kissing scenes, rain, tearful goodbyes, vampires that glisten in the sunlight) there are few quite as powerful as death--be it the bad guy getting shot in the head, the hero's lover falling victim to small pox, or, as in my first book, an only child dying as a result of a bad idea gone horribly wrong.
There is also a sense of relief about death that you can't get through other means of character torture--with death you know that that character's life is over, and then the remaining characters need to rebuild without that person. It's a huge 'change' that can then grow new conflicts and direction for your story. Even the bad guy getting what he deserves provides opportunities of reflection and growth. Because death is so difficult, your readers are hungry to see the remaining characters cope and grow because of this adversity, giving you a whole new tool belt of tactics to use for the rest of your story. Bad guys are made worse when they kill someone, and good guys are made gooder when they triumph over such tragedy.
You are likely reading this with one of two reactions--you're either nodding, thinking about some great death scenes you've read or written, or you're thinking I'm a little tipped in the head. Don't feel bad, I'm the last one to say I'm not tipped, but I will say that when I reach those parts of my books where I'm feeling it sag, or I need to get the story started but not sure how to get those first pages in there with enough action to hold my reader, the first thing I do is look around at my characters and see who is dispensable. That's not to say I don't shed a tear now and again--I'm not completely heartless--but you never know when death might be the very thing to save your story.
Showing posts with label toolbox. Show all posts
Showing posts with label toolbox. Show all posts
Monday, February 13, 2017
Wednesday, February 8, 2017
Annie on What You Know
A popular post from March 2009
by Annette Lyon
I've talked about this before: how the old rule, "write what you know" is highly over-rated. (Read my rant about that here.)
In the last week, I got a great laugh when someone else wrote about the same thing in connection with my new release.
Regarding Annie is a blog written by a woman who is a fun writer in her own right. She's got a newspaper column of the same name that you can click over to on her sidebar.
Her blog post from last Friday was a bit of tongue-in-cheek journalism looking at my supposed in-depth experiences that helped shape the book: things like mine explosions, theft, rattlesnakes, 19th century printing presses, and horse training.
None of which I possess any firsthand knowledge of whatsoever.
All of which play important roles in the book.
If I'd clung to the adage of, "Write what you know," I couldn't have written it. Or any of my other books. In this case, I had a fun storyline and great characters, and I knew I could look up what I needed to and ask for additional help from experts. And that's exactly what I did.
Once and for all, toss out, "Write what you know."
Replace it with, "Write what you're willing to learn about," and (as a commenter said in my earlier post on the topic), "Write what you can imagine."
Then look up the rest.
Read Annie's post here.
by Annette Lyon
I've talked about this before: how the old rule, "write what you know" is highly over-rated. (Read my rant about that here.)
In the last week, I got a great laugh when someone else wrote about the same thing in connection with my new release.
Regarding Annie is a blog written by a woman who is a fun writer in her own right. She's got a newspaper column of the same name that you can click over to on her sidebar.
Her blog post from last Friday was a bit of tongue-in-cheek journalism looking at my supposed in-depth experiences that helped shape the book: things like mine explosions, theft, rattlesnakes, 19th century printing presses, and horse training.
None of which I possess any firsthand knowledge of whatsoever.
All of which play important roles in the book.
If I'd clung to the adage of, "Write what you know," I couldn't have written it. Or any of my other books. In this case, I had a fun storyline and great characters, and I knew I could look up what I needed to and ask for additional help from experts. And that's exactly what I did.
Once and for all, toss out, "Write what you know."
Replace it with, "Write what you're willing to learn about," and (as a commenter said in my earlier post on the topic), "Write what you can imagine."
Then look up the rest.
Read Annie's post here.
Tuesday, September 2, 2008
Specificity
by Annette Lyon
Once again I'm inspired for my post by A Conversation on the Writing Life by Julia Cameron and Natalie Goldberg.
This time the topic could be called, “show, don’t tell,” but to me (and especially the early writer me), “specificity” describes it so much better.
I can’t remember how many times I’d get the comment that I was telling instead of showing, and I’d want to scream, “I thought I was showing!”
Showing has several elements, but specificity is one of my favorites. The gist is to take a general noun (such as a car) and tell us more. Make us see it.
Is it a VW Bug? Is it a little red Toyota truck with rusted wheel wells? Is it a sleek, black Jaguar? A yellow Jeep with fuzzy, pink dice hanging from the mirror?
The more specific you are, the more clearly readers will see the “movie” in your head—and be drawn into your imaginary world.
If I say I walked into a yard with beautiful, fragrant flowers, you might have a certain image in mind. But it’s probably pretty vague, and the picture in your head is going to be very different than the one in mine.
What if instead I say that I walked under a arch of pink climbing roses and then past a hedge of violet-colored lilacs, and that a vase along the winding gravel path was full of yellow irises?
Ah, now we’re picturing the same thing. And it’s a lot more specific and memorable than plain old “flowers.”
So the girl in your book isn’t just a girl. She’s a six-year-old red-head with pigtails and a smattering of freckles across her cheeks—and a black eye.
The man isn’t tall—he has to duck to get through the doorway.
The woman isn’t tired—instead, her eyes open and close heavily, her gait is slow and measured, and she rubs her eyes with her fingertips.
Granted, you can take specificity too far. You don’t want to describe each and every passing character and landscape in total detail, resulting in what’s often called, “purple prose.” (You know, the kind of thing where a sunset lasts two pages and you’re ready to scream at the author to get on with it already!)
But in general, writers tend to err on the side of being too vague.
Think about J. K. Rowling’s first description of Snape’s classroom. Yes, we know it’s a dungeon, so it’s obviously dim and dank. She doesn’t go on much about that. Instead she drops in a creepy detail about jars on the shelves that hold floating dead things. She doesn’t need to include much more than that. We get the picture, and we want out of the classroom as much as Harry does.
Take a piece of your work and circle every noun and every adjective. Look them one at a time. Is there a way to make them more specific? Can you focus your mental “movie” a bit more and give the reader something that’ll convey your world to them more clearly?
In general, two or three details when introducing a new major character or location are plenty, provided you’ve picked good, solid ones that can represent the rest of the person or place.
Now I’ll head to my kitchen, where I’ll open a dark alder wood cupboard for a glass, and then I’ll take out the Winder Farms chocolate milk from the stainless-steel fridge. Mmm. Good.
(Can you see it?)
Once again I'm inspired for my post by A Conversation on the Writing Life by Julia Cameron and Natalie Goldberg.
This time the topic could be called, “show, don’t tell,” but to me (and especially the early writer me), “specificity” describes it so much better.
I can’t remember how many times I’d get the comment that I was telling instead of showing, and I’d want to scream, “I thought I was showing!”
Showing has several elements, but specificity is one of my favorites. The gist is to take a general noun (such as a car) and tell us more. Make us see it.
Is it a VW Bug? Is it a little red Toyota truck with rusted wheel wells? Is it a sleek, black Jaguar? A yellow Jeep with fuzzy, pink dice hanging from the mirror?
The more specific you are, the more clearly readers will see the “movie” in your head—and be drawn into your imaginary world.
If I say I walked into a yard with beautiful, fragrant flowers, you might have a certain image in mind. But it’s probably pretty vague, and the picture in your head is going to be very different than the one in mine.
What if instead I say that I walked under a arch of pink climbing roses and then past a hedge of violet-colored lilacs, and that a vase along the winding gravel path was full of yellow irises?
Ah, now we’re picturing the same thing. And it’s a lot more specific and memorable than plain old “flowers.”
So the girl in your book isn’t just a girl. She’s a six-year-old red-head with pigtails and a smattering of freckles across her cheeks—and a black eye.
The man isn’t tall—he has to duck to get through the doorway.
The woman isn’t tired—instead, her eyes open and close heavily, her gait is slow and measured, and she rubs her eyes with her fingertips.
Granted, you can take specificity too far. You don’t want to describe each and every passing character and landscape in total detail, resulting in what’s often called, “purple prose.” (You know, the kind of thing where a sunset lasts two pages and you’re ready to scream at the author to get on with it already!)
But in general, writers tend to err on the side of being too vague.
Think about J. K. Rowling’s first description of Snape’s classroom. Yes, we know it’s a dungeon, so it’s obviously dim and dank. She doesn’t go on much about that. Instead she drops in a creepy detail about jars on the shelves that hold floating dead things. She doesn’t need to include much more than that. We get the picture, and we want out of the classroom as much as Harry does.
Take a piece of your work and circle every noun and every adjective. Look them one at a time. Is there a way to make them more specific? Can you focus your mental “movie” a bit more and give the reader something that’ll convey your world to them more clearly?
In general, two or three details when introducing a new major character or location are plenty, provided you’ve picked good, solid ones that can represent the rest of the person or place.
Now I’ll head to my kitchen, where I’ll open a dark alder wood cupboard for a glass, and then I’ll take out the Winder Farms chocolate milk from the stainless-steel fridge. Mmm. Good.
(Can you see it?)
Monday, June 2, 2008
On Writing for the Non-Fiction market
By Julie Wright
On Writing for the Non-Fiction market
Genre Toolbox
Non-fiction is a pretty broad topic. There are the self help books, the info-mercials thinly veiled as books, the cook books, the do it yourself books, the books on how to get out of debt, and the other books on how to become millionaires. Then there are the books for the sake of knowledge (history, science, etc).
Regardless of all the tiny facets we could talk about, there are certain all-encompassing things to know in order to write effective non-fiction.
• Story— Before you interrupt to tell me that non-fiction isn’t about story, let me assure you that it is. Think of the parables of Jesus. All these parables were told as a means to help the regular guy understand the teaching behind the story. I do a lot of teaching and have found that people engage themselves into my lessons when I stop boring them to sleep. People perk up and listen as soon as I share personal examples. Never underestimate the power of personal experiences. Examples that tie into the chapter and breathe life into whatever it is you’re teaching are the things that will stick in the reader’s mind the longest.
• Informed— Do you actually know what it is you’re trying to teach? Are you qualified? Are you really qualified? A little research goes a long way and a lot of research makes you an expert. Experts get to write non-fiction. Don’t think you’re going to write a book on how to make a million dollars in a month if you haven’t actually done it. Don’t write a cook book meant to compete with Julia Child if you don’t know who Julia Child is, and if you aren’t sure that mayo isn’t a spice.
• Order!— Order isn’t just something judges yell as they pound gavels to get everyone’s attention. Order is the sense and flow of your book. Make sure that your chapters flow smoothly from one topic to another topic in a way that seems organic and right to the reader. Just like a novel, a non-fiction book has a beginning, and a middle, and an end. What will capture the reader’s interest and make a good beginning? What is a good way to end the book so the reader closes it and feels fulfilled?
• Outline— I am not a great outliner. Organization is for—-well, organized people. However, I found that with writing non-fiction, organization was key. I needed a skeleton before I could begin placing meat on the bones. The structure kept me from tangenting (as I am prone to do) and allowed me the freedom to explore each segment fully. The mystery questions work well for non-fiction outlines: Who, What, Where, Why, and How.
---Who are you writing this book for? Who is your reader, your target audience? Who are you marketing to?
---What type of book are you trying to write? Pick your topic and stick with it.
---Where will people need this book? Where will they be reading? Is it a commuter book for while on the train to work? Is it something they’ll read while running on a treadmill, or something they’ll read while their hands are sticky with dough?
---Why are you qualified to write this book? Why do you want to write it?
---How do you plan on pitching this book to an editor or an agent? And then, how do you plan on marketing this book once it comes to publication?
Once you know the answers to these questions, you’ll be able to write a book that is sharply honed to the needs of the people who will read it.
• Know what else is out there— If you’re an expert on yoga and want to write a book on yoga, you might feel intimidated at the fact that there are a gazillion (not a calculated fact, this is merely an estimation) books on yoga in the bookstore. The beauty of this is that if you give twenty different people the exact same topic to write on, they will write twenty totally different books. Don’t panic. If you have a twist on an old idea, feel free to make it yours.
Non fiction is, in some ways, easier to write because the facts are already there. I wrote a non-fiction book on how to sell on eBay. It was like doing a really long research paper. In some ways I felt like the wizard of Oz. I had the basics--the tin man, but how did I animate him? How did I get a heart into him so others could relate to him? That's when it becomes so much harder to write than fiction.
For this reason, I recommend you pick a topic that you're passionate about.
On Writing for the Non-Fiction market
Genre Toolbox
Non-fiction is a pretty broad topic. There are the self help books, the info-mercials thinly veiled as books, the cook books, the do it yourself books, the books on how to get out of debt, and the other books on how to become millionaires. Then there are the books for the sake of knowledge (history, science, etc).
Regardless of all the tiny facets we could talk about, there are certain all-encompassing things to know in order to write effective non-fiction.
• Story— Before you interrupt to tell me that non-fiction isn’t about story, let me assure you that it is. Think of the parables of Jesus. All these parables were told as a means to help the regular guy understand the teaching behind the story. I do a lot of teaching and have found that people engage themselves into my lessons when I stop boring them to sleep. People perk up and listen as soon as I share personal examples. Never underestimate the power of personal experiences. Examples that tie into the chapter and breathe life into whatever it is you’re teaching are the things that will stick in the reader’s mind the longest.
• Informed— Do you actually know what it is you’re trying to teach? Are you qualified? Are you really qualified? A little research goes a long way and a lot of research makes you an expert. Experts get to write non-fiction. Don’t think you’re going to write a book on how to make a million dollars in a month if you haven’t actually done it. Don’t write a cook book meant to compete with Julia Child if you don’t know who Julia Child is, and if you aren’t sure that mayo isn’t a spice.
• Order!— Order isn’t just something judges yell as they pound gavels to get everyone’s attention. Order is the sense and flow of your book. Make sure that your chapters flow smoothly from one topic to another topic in a way that seems organic and right to the reader. Just like a novel, a non-fiction book has a beginning, and a middle, and an end. What will capture the reader’s interest and make a good beginning? What is a good way to end the book so the reader closes it and feels fulfilled?
• Outline— I am not a great outliner. Organization is for—-well, organized people. However, I found that with writing non-fiction, organization was key. I needed a skeleton before I could begin placing meat on the bones. The structure kept me from tangenting (as I am prone to do) and allowed me the freedom to explore each segment fully. The mystery questions work well for non-fiction outlines: Who, What, Where, Why, and How.
---Who are you writing this book for? Who is your reader, your target audience? Who are you marketing to?
---What type of book are you trying to write? Pick your topic and stick with it.
---Where will people need this book? Where will they be reading? Is it a commuter book for while on the train to work? Is it something they’ll read while running on a treadmill, or something they’ll read while their hands are sticky with dough?
---Why are you qualified to write this book? Why do you want to write it?
---How do you plan on pitching this book to an editor or an agent? And then, how do you plan on marketing this book once it comes to publication?
Once you know the answers to these questions, you’ll be able to write a book that is sharply honed to the needs of the people who will read it.
• Know what else is out there— If you’re an expert on yoga and want to write a book on yoga, you might feel intimidated at the fact that there are a gazillion (not a calculated fact, this is merely an estimation) books on yoga in the bookstore. The beauty of this is that if you give twenty different people the exact same topic to write on, they will write twenty totally different books. Don’t panic. If you have a twist on an old idea, feel free to make it yours.
Non fiction is, in some ways, easier to write because the facts are already there. I wrote a non-fiction book on how to sell on eBay. It was like doing a really long research paper. In some ways I felt like the wizard of Oz. I had the basics--the tin man, but how did I animate him? How did I get a heart into him so others could relate to him? That's when it becomes so much harder to write than fiction.
For this reason, I recommend you pick a topic that you're passionate about.
Monday, May 19, 2008
On Writing for the YA market--genre toolbox
By Julie Wright
On Writing for the YA market
Genre Toolbox
Since the Harry Potter craze, there is good news for writers. It’s called READERS. More youth are reading for the pleasure of reading than ever before. If you write for that market, this is great news. I happen to write for this market. I love great news.
• Wonder— Wonder is that moment when you discover something for the first time. It’s the first time of seeing snow falling, or the first kiss. Wonder is something that astounds and leaves the person breathless and awe inspired. I don’t care that teenagers think they know everything, the fact remains that life still holds wonder for them and in order to evoke emotion in your writing you need to create a sense of wonder in your story. The teen years are a definite time of discovery. It’s where we learn who we are and how we fit in the world. It’s usually the time you fall in love for the first time. Wonder is simply wonderful.
• Age—YA generally means a character in the age range of 12-18. It doesn’t matter so much how old your character is as much as it matters that they ACT THEIR AGE. A senior in high school has vastly different concerns and perspectives than a ninth grader. Make sure your character speaks and acts the way they would in reality.
• Just because you can— Doesn’t mean you should. I know; I know, everyone says that it’s cool to be edgy--to push the boundaries of what is acceptable in YA novels. Besides that, you can’t get in trouble because YA novels are so under the parental radar that no one will ever know that you wrote a book about ********(pick your own taboo) Don’t forget the power of the pen. Words change society. Be prepared to answer for the words you choose to use. You are responsible for what you write. And I’m not preaching about what I think you should write . . . I am warning you to be prepared to stand up for it. Keep in mind that the younger edge of YA can handle “scarier” conflicts if it’s at a distance. They can handle the teen pregnancy if it’s the main character’s friend dealing with it, not the main characters themselves.
• Character—I am a character driven writer. I have a book that was pretty plot driven on the first draft but by the third draft, it was ALL about the character. Teens are pretty self absorbed (I can say that because I once was a self absorbed teen and liked it so well I grew up to be a self absorbed author) Because of this, they need characters they can relate to on a deeper level. They need characters who think things, and do things, and feel things. They need characters who are like them on the inside. Plot is important. Character is vital.
• Overcoming—Those really fabulous characters need to overcome. They need to grow and stretch and be more than they were on page one. Think of Star Wars. Luke started off as a whiney little brat who wanted to go with his friend to get power converters rather than clean up a couple of silly droids. By Return of the Jedi, our whiney brat has turned into full on Jedi and he is awesome. He’s in control of himself. He grew and overcame all the things he’d gone through to that point. He *became* the person he was meant to be. He found his inner greatness. That doesn’t mean your character has to wield a lightsaber and control the force, but they must find their own magic inside, even if it’s only metaphorically.
• Copycat-- A lot of people think writing for children is sooooo easy, but I am here to tell them, they are totally WRONG! I’ve heard people say, “Yeah, well, I think I’m going to write something like Harry Potter, and make an easy sweet million. Anyone can write that.” Copy cats always get caught for what they are. Bad copycats are the worst.
Kids these days are savvy and sophisticated in ways we can’t even dream. Do not assume you should write for the YA market simply because you think it might be easier. Consider why you want to write to teens. Consider your motives. Consider your *knowledge* because YES it takes some know-how to write in this genre. If you aren’t currently reading YA novels, don’t even think about writing one until you’ve read twenty. I mean it. Twenty. Publishing in the YA market is a lot tougher because the competition is fierce. There are a lot of wicked awesome writers out there setting the standard. You do not want to be the one to fall short of that standard.
Meet me back here next week for the non-fiction toolbox.
On Writing for the YA market
Genre Toolbox
Since the Harry Potter craze, there is good news for writers. It’s called READERS. More youth are reading for the pleasure of reading than ever before. If you write for that market, this is great news. I happen to write for this market. I love great news.
• Wonder— Wonder is that moment when you discover something for the first time. It’s the first time of seeing snow falling, or the first kiss. Wonder is something that astounds and leaves the person breathless and awe inspired. I don’t care that teenagers think they know everything, the fact remains that life still holds wonder for them and in order to evoke emotion in your writing you need to create a sense of wonder in your story. The teen years are a definite time of discovery. It’s where we learn who we are and how we fit in the world. It’s usually the time you fall in love for the first time. Wonder is simply wonderful.
• Age—YA generally means a character in the age range of 12-18. It doesn’t matter so much how old your character is as much as it matters that they ACT THEIR AGE. A senior in high school has vastly different concerns and perspectives than a ninth grader. Make sure your character speaks and acts the way they would in reality.
• Just because you can— Doesn’t mean you should. I know; I know, everyone says that it’s cool to be edgy--to push the boundaries of what is acceptable in YA novels. Besides that, you can’t get in trouble because YA novels are so under the parental radar that no one will ever know that you wrote a book about ********(pick your own taboo) Don’t forget the power of the pen. Words change society. Be prepared to answer for the words you choose to use. You are responsible for what you write. And I’m not preaching about what I think you should write . . . I am warning you to be prepared to stand up for it. Keep in mind that the younger edge of YA can handle “scarier” conflicts if it’s at a distance. They can handle the teen pregnancy if it’s the main character’s friend dealing with it, not the main characters themselves.
• Character—I am a character driven writer. I have a book that was pretty plot driven on the first draft but by the third draft, it was ALL about the character. Teens are pretty self absorbed (I can say that because I once was a self absorbed teen and liked it so well I grew up to be a self absorbed author) Because of this, they need characters they can relate to on a deeper level. They need characters who think things, and do things, and feel things. They need characters who are like them on the inside. Plot is important. Character is vital.
• Overcoming—Those really fabulous characters need to overcome. They need to grow and stretch and be more than they were on page one. Think of Star Wars. Luke started off as a whiney little brat who wanted to go with his friend to get power converters rather than clean up a couple of silly droids. By Return of the Jedi, our whiney brat has turned into full on Jedi and he is awesome. He’s in control of himself. He grew and overcame all the things he’d gone through to that point. He *became* the person he was meant to be. He found his inner greatness. That doesn’t mean your character has to wield a lightsaber and control the force, but they must find their own magic inside, even if it’s only metaphorically.
• Copycat-- A lot of people think writing for children is sooooo easy, but I am here to tell them, they are totally WRONG! I’ve heard people say, “Yeah, well, I think I’m going to write something like Harry Potter, and make an easy sweet million. Anyone can write that.” Copy cats always get caught for what they are. Bad copycats are the worst.
Kids these days are savvy and sophisticated in ways we can’t even dream. Do not assume you should write for the YA market simply because you think it might be easier. Consider why you want to write to teens. Consider your motives. Consider your *knowledge* because YES it takes some know-how to write in this genre. If you aren’t currently reading YA novels, don’t even think about writing one until you’ve read twenty. I mean it. Twenty. Publishing in the YA market is a lot tougher because the competition is fierce. There are a lot of wicked awesome writers out there setting the standard. You do not want to be the one to fall short of that standard.
Meet me back here next week for the non-fiction toolbox.
Monday, May 5, 2008
On Writing Romance--Genre Toolbox
By Julie Wright
On Writing Romance
Genre Toolbox
Ah love, what we do without it? Some people criticise the romance writers of the world, but they are fools to do so. Romance represents fifty percent of the fiction market. All the other genres combined make up the other fifty percent. Here's a few tips to throw in your toolbox and grab your share of the fifty percent.
• Internal Conflict-- A lot of people deeply believe that the, "You say tomayto and I say tomahto" conflict is enough for riveting romantic conflict. I say, "Yawn." There needs to be a lot more than a few little differences in personality to make me believe your characters have real internal conflict with one another. Maybe it is a religious difference, or a political difference of opinion. Maybe the internal conflict comes from knowing they are perfect for each other, but he's her best friend's fiance. Something that cause an internal obstacle to the hero and heroine getting together is absolutely necessary.
• External conflict-- A great romance always incorporates both internal and external conflict. External conflict could consist of people pulling our lovers apart, a nefarious competitor for the main character's affections usually works here. it could be the romeo and Juliet scenario of family pulling them apart. Maybe the hero got drafted to war, Maybe the heroine got an all ride scholarship to the university of her dreams and has to make a choice. Whatever your conflict, you need to make sure it remains continually an obstacle until the end. No one wants to read about a couple who get together in chapter one and have nothing to overcome.
• Sexual tension— No matter what it sounds like here, I am not talking about sex as in a roll in the hay. I'm talking about the sparks that fly from pure chemistry . . . Ever wonder why Twilight is such a hit? It's all about the sexual tension. It's all about the restraint of actual sex. You can have "steamy" without one bedroom scene and it all comes from the way the characters interact together. Don't believe me? Go read Twilight. A finger caressing a jawbone and hot kisses on the back of the neck can go a long long way for a woman reading a romance.
• Masculine but sensitive-- Most romance readers want a man who acts like a man, and I am not talking about the gas-passing sort of man, but the kind who will stand up for their woman and who will stand up TO their woman. They want a man who remembers the little details without having to be asked, the kind of man who knows what her favorite flower is and what color her eyes are after she's had a good cry. They don't want their men to be sissies, but they don't want them to be controlling wife beaters either. It's a tightrope walk to find a male character that will make your reader write to you to ask, "Where can I find a man like that?"
• Overcoming-- In order for the romance to be successful, the hero and heroine have to overcome their obstacles one at a time, bit by bit which draws them closer and closer together. They HAVE to overcome ALL the obstacles (except the tomayto and tomahto concept . . . it's good for people to keep some differences)
• Climax-- This is the moment of truth where they realize they are committed to each other. Commitment is more than gazing into each other's eyes and saying the pretty words, "I love you." There has to be actual commitment to the relationship for the reader to have faith that the relationship will last beyond, "The End."
Don't forget the importance of sub genre. There is romantic fantasy, romantic suspense, romantic comedy, and pretty much romantic anything else you can think of. I am one of those who is naive enough to believe love works, and that is why love sells so well. Everyone wants love. Everyone needs love and everyone wants to have someone to give their own love to. Love rocks.
Meet me back here next week for the young adult toolbox.
On Writing Romance
Genre Toolbox
Ah love, what we do without it? Some people criticise the romance writers of the world, but they are fools to do so. Romance represents fifty percent of the fiction market. All the other genres combined make up the other fifty percent. Here's a few tips to throw in your toolbox and grab your share of the fifty percent.
• Internal Conflict-- A lot of people deeply believe that the, "You say tomayto and I say tomahto" conflict is enough for riveting romantic conflict. I say, "Yawn." There needs to be a lot more than a few little differences in personality to make me believe your characters have real internal conflict with one another. Maybe it is a religious difference, or a political difference of opinion. Maybe the internal conflict comes from knowing they are perfect for each other, but he's her best friend's fiance. Something that cause an internal obstacle to the hero and heroine getting together is absolutely necessary.
• External conflict-- A great romance always incorporates both internal and external conflict. External conflict could consist of people pulling our lovers apart, a nefarious competitor for the main character's affections usually works here. it could be the romeo and Juliet scenario of family pulling them apart. Maybe the hero got drafted to war, Maybe the heroine got an all ride scholarship to the university of her dreams and has to make a choice. Whatever your conflict, you need to make sure it remains continually an obstacle until the end. No one wants to read about a couple who get together in chapter one and have nothing to overcome.
• Sexual tension— No matter what it sounds like here, I am not talking about sex as in a roll in the hay. I'm talking about the sparks that fly from pure chemistry . . . Ever wonder why Twilight is such a hit? It's all about the sexual tension. It's all about the restraint of actual sex. You can have "steamy" without one bedroom scene and it all comes from the way the characters interact together. Don't believe me? Go read Twilight. A finger caressing a jawbone and hot kisses on the back of the neck can go a long long way for a woman reading a romance.
• Masculine but sensitive-- Most romance readers want a man who acts like a man, and I am not talking about the gas-passing sort of man, but the kind who will stand up for their woman and who will stand up TO their woman. They want a man who remembers the little details without having to be asked, the kind of man who knows what her favorite flower is and what color her eyes are after she's had a good cry. They don't want their men to be sissies, but they don't want them to be controlling wife beaters either. It's a tightrope walk to find a male character that will make your reader write to you to ask, "Where can I find a man like that?"
• Overcoming-- In order for the romance to be successful, the hero and heroine have to overcome their obstacles one at a time, bit by bit which draws them closer and closer together. They HAVE to overcome ALL the obstacles (except the tomayto and tomahto concept . . . it's good for people to keep some differences)
• Climax-- This is the moment of truth where they realize they are committed to each other. Commitment is more than gazing into each other's eyes and saying the pretty words, "I love you." There has to be actual commitment to the relationship for the reader to have faith that the relationship will last beyond, "The End."
Don't forget the importance of sub genre. There is romantic fantasy, romantic suspense, romantic comedy, and pretty much romantic anything else you can think of. I am one of those who is naive enough to believe love works, and that is why love sells so well. Everyone wants love. Everyone needs love and everyone wants to have someone to give their own love to. Love rocks.
Meet me back here next week for the young adult toolbox.
Monday, April 28, 2008
On Writing Fantasy--genre toolbox
By Julie Wright
On Writing Fantasy
Genre Toolbox
In every genre, there are important tools to use for writing in that genre. I am going to spend the next couple of weeks doing a genre toolbox for a few of the genre's that I know intimately. I'm starting with fantasy since that is what I'm currently working on.
• Magic system-- Create rules for your magic system. Where did your magic come from? Who controls the magic? Does your magic have limits? Does it cost your characters anything to use that magic?
• Plot-- I don’t care how cool your world is if nothing cool is happening there. No matter the genre, plot is essential.
• Characters—I don’t care how cool your world is if I can't relate to the characters. Even if you have dwarfs and elves and creatures we can't pronounce, you need to make them relatable on a human level.
• World building-- Even when you turn our world upside down, you have to build it up again in some new way that works for the story and is believable. If you are building a new world from scratch, then write yourself a research paper on the populations of that world. Draw yourself a map of that world. Explain what kinds of plants grow on that world, and what the people of that world eat. What do people do for a living? Is that world ruled by a king or a queen? Is it governed by the people? Does chaos rule supreme? Never underestimate world building. Most of the background history will never be used in the book, but you as the author MUST know your own world if you want the reader to believe it exists.
• Biology/science-- Just because this is fantasy doesn’t mean there are no rules. The science of the world needs to make sense. If you have a purple land-roving-squid with twenty tentacles and two legs, there better be some logical believable reasoning behind it.
• Industry knowledge-- Fantasy now-a-days is so much more than middle earth. If the most current fantasy book you’ve read is Tolkien, then you don’t know your field. Research the Hugo and Nebula award winners. Know what is being published so you don’t fall into the trap called: “Yawn, that is so yesterday’s story.”
• Reinvent the wheel. Don’t be afraid to retell an old fable or myth from a fresh point of view. Think how many times Cinderella has been remade; consider the success of Shannon Hale’s Goose Girl.
• Imagine it. Close your eyes. Can you see your world, hear the dialect of your people? Do you understand the pressures and stresses in your character's daily life as they move throughout the world you've created for them?
Meet me back here next week for the romance toolbox.
On Writing Fantasy
Genre Toolbox
In every genre, there are important tools to use for writing in that genre. I am going to spend the next couple of weeks doing a genre toolbox for a few of the genre's that I know intimately. I'm starting with fantasy since that is what I'm currently working on.
• Magic system-- Create rules for your magic system. Where did your magic come from? Who controls the magic? Does your magic have limits? Does it cost your characters anything to use that magic?
• Plot-- I don’t care how cool your world is if nothing cool is happening there. No matter the genre, plot is essential.
• Characters—I don’t care how cool your world is if I can't relate to the characters. Even if you have dwarfs and elves and creatures we can't pronounce, you need to make them relatable on a human level.
• World building-- Even when you turn our world upside down, you have to build it up again in some new way that works for the story and is believable. If you are building a new world from scratch, then write yourself a research paper on the populations of that world. Draw yourself a map of that world. Explain what kinds of plants grow on that world, and what the people of that world eat. What do people do for a living? Is that world ruled by a king or a queen? Is it governed by the people? Does chaos rule supreme? Never underestimate world building. Most of the background history will never be used in the book, but you as the author MUST know your own world if you want the reader to believe it exists.
• Biology/science-- Just because this is fantasy doesn’t mean there are no rules. The science of the world needs to make sense. If you have a purple land-roving-squid with twenty tentacles and two legs, there better be some logical believable reasoning behind it.
• Industry knowledge-- Fantasy now-a-days is so much more than middle earth. If the most current fantasy book you’ve read is Tolkien, then you don’t know your field. Research the Hugo and Nebula award winners. Know what is being published so you don’t fall into the trap called: “Yawn, that is so yesterday’s story.”
• Reinvent the wheel. Don’t be afraid to retell an old fable or myth from a fresh point of view. Think how many times Cinderella has been remade; consider the success of Shannon Hale’s Goose Girl.
• Imagine it. Close your eyes. Can you see your world, hear the dialect of your people? Do you understand the pressures and stresses in your character's daily life as they move throughout the world you've created for them?
Meet me back here next week for the romance toolbox.
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