by Annette Lyon
In recent discussions with writer and editor friends (and in recent editing myself), I keep running into the dreaded repetitive word and/or phrase phenomenon. If you can avoid the disease, your writing will be crisper and more professional, guaranteed.
Repetitive words are relatively easy to avoid and fix when you're doing short pieces, since you can read the entire work in one sitting (even aloud) and catch the repetitions. For that matter, you probably WROTE the entire article or short story over the course of a relatively short period, so there are fewer of them to begin with (how many times are you going to use the word, "gregarious" if you wrote the entire short story in three days? Once, maybe.)
On the other hand, book-length works are another matter altogether. Chances are you've worked on that 90,000 word (or longer) tome over the course of months and months. So it's easy to find yourself repeating words that you don't even remember using already in the same book.
You end up with something like this: the scene where you describe your heroine's heart thrumming against her chest was written six months after the one in which the hero's heart hammers against his chest. Yet your reader comes across both descriptions in the same afternoon and wonders why you don't have a shred of creativity.
Unfortunately, the only way I know of to get around this (aside from trying to be fresh all the time, but that's not foolproof, alas) is to wait until the thing is done and then read it all the way through, start to finish, QUICKLY. That way you'll catch things you've repeated again and again.
Trust me on this one; you WILL repeat things. You'll think you're using a great new word or phrase for the first time, only to discover that you already used it. Three times.
As you read over your whole manuscript, you'll also notice that wow, a lot slew of people's stomachs flip over themselves. And hmmm, a lot of characters are clenching their teeth! Maybe I do need to find another way to describe some of these emotions.
Aside from emotional descriptors, watch out for repetitive filler words like that, was, suddenly, little, then, and even directionals like up, over, and toward. Some body parts get a workout from some writers like eyes, hands, heart, and feet.
And of course, in every book, you'll end up finding a few words that are somehow your personal "favorites" to repeat over and over for that manuscript that you'll need to start cutting or find replacements for so you don't sound like Dr. Seuss.
Do a search in your word processor for these words and fix them for that clean, professional feel. And then you will sound creative to your readers, because you will have stretched yourself, forced yourself to come up with new ways to write. And that is creativity.
Wednesday, May 30, 2007
Tuesday, May 29, 2007
The Techno World
by Julie Wright
This last weekend, I was a participating guest in a science fiction and fantasy writer's conference. We had a panel on things you could learn from the internet. I am (obviously) pro-internet, but I imparted a word of caution to the audience and I will now share that caution with you.
The world seems like a huge place, the internet makes it seem larger still, but the writing community is very small (and smaller still when you do something stupid and you're wishing everyone would forget).
I am a big believer in blogs and forums. I've made several fabulous acquaintances through these mediums; I've sharpened my own skills, and I've gained insight into the publishing world. But there have been times when I've commented on a blog, or responded to a post on a forum, and had second thoughts as my finger hovered over the left mouse button prior to hitting send.
I'm happy to report that most of the time, my greater senses kick in and I delete the message, or soften the tone. This has saved me from looking like a bitter hack, whose only joy is flaming other authors, publishers or agents.
Others haven't been so lucky.
Watch your words in public forums. Remember that emails can be forwarded. Remember that, even though you're commenting on an editor's website who you would never dream of publishing with, there is a good chance that editor will switch publishing houses and you just might need to be in their good graces. Am I saying I believe in censorship?
No.
I'm saying I believe in self-censorship.
Do not commit career suicide just because the internet seems so anonymous. Just because you're in your office hiding behind a screen doesn't mean the arrow you loosed from your bow doesn't have a return address on it.
The internet offers many ways of networking, research opportunity, and self marketing. I believe those tools are important to survival for new authors. I encourage you to use those tools to further your career. But beware the knee-jerk reaction. Beware arrogance, gossip, and flamatory remarks. A comment made in a moment of self righteous anger will haunt the internet--and you--eternally.
This last weekend, I was a participating guest in a science fiction and fantasy writer's conference. We had a panel on things you could learn from the internet. I am (obviously) pro-internet, but I imparted a word of caution to the audience and I will now share that caution with you.
The world seems like a huge place, the internet makes it seem larger still, but the writing community is very small (and smaller still when you do something stupid and you're wishing everyone would forget).
I am a big believer in blogs and forums. I've made several fabulous acquaintances through these mediums; I've sharpened my own skills, and I've gained insight into the publishing world. But there have been times when I've commented on a blog, or responded to a post on a forum, and had second thoughts as my finger hovered over the left mouse button prior to hitting send.
I'm happy to report that most of the time, my greater senses kick in and I delete the message, or soften the tone. This has saved me from looking like a bitter hack, whose only joy is flaming other authors, publishers or agents.
Others haven't been so lucky.
Watch your words in public forums. Remember that emails can be forwarded. Remember that, even though you're commenting on an editor's website who you would never dream of publishing with, there is a good chance that editor will switch publishing houses and you just might need to be in their good graces. Am I saying I believe in censorship?
No.
I'm saying I believe in self-censorship.
Do not commit career suicide just because the internet seems so anonymous. Just because you're in your office hiding behind a screen doesn't mean the arrow you loosed from your bow doesn't have a return address on it.
The internet offers many ways of networking, research opportunity, and self marketing. I believe those tools are important to survival for new authors. I encourage you to use those tools to further your career. But beware the knee-jerk reaction. Beware arrogance, gossip, and flamatory remarks. A comment made in a moment of self righteous anger will haunt the internet--and you--eternally.
Monday, May 28, 2007
Writing school of self-taught
By Josi S. Kilpack
I was recently interviewed for an article and the journalist asked how I learned to write. I hadn't thought about this for awhile, and even after the interview was over I found myself going back to this one question. I do not have a college degree, I wasn't on the newspaper or yearbook staff in high school, I never won a writing contest or took anything beyond 101 writing classes in the one year of college I attended. I don't say this to brag, it's rather deflating to see that I missed so many opportunities--but I did. In many ways it made my road a harder one, I started several layers lower than most would-be-writers, and yet, I have written seven novels and my ability to write has definitely improved. Somewhere, somehow, I learned how to write. But how?
In dissecting the answer to that question I have found three points that were true to me, and I believe they are true to other writers in varying degrees as well. Not only were they helpful in the beginning, but they continue to be powerful. My challenge to each of you, is to consider each point in your own experience and your own writing, see how it measures up and if your current ability could be enhanced by going back to one of these points that perhaps has weakened.
1--What others Write--After I started writing my reading changed. I found myself taking apart books I read, even going as far as to write down what I liked and didn't like. I would often end up with things like. "I thought the main character was shallow." Then ask myself "Why?" At that point, I had to figure out why I felt that way so as not to repeat the mistake. Or perhaps I would observe. "I really liked the way the romantic tension increased" and ask myself "Why?" and I would ponder on this and answer it, thinking of ways I could use this information in my own book. This was MY university--the School of Other Writers. It's not simply 'editing' as you write, it's focusing on specific points, researching, putting into words the impressions you get.
2--Books on Writing. My first writing books were purchased without any recommendation. I simply went to Amazon.com and looked up writing books. They showed me the most popular ones and I bought three of them. To this day they are three of my favorite books, I go back to them again and again. Since then I have met many more writers, I've joined writing book groups, and I have a shelf of writing books to reference. No matter how many books on writing I have read, I find something I didn't know before. Rather than read them straight through, I often study a specific element such as "dialogue" and look it up in several resources to see what each author has to say about it so as to get a universal view.
3--Rejection Letters. The best thing that ever happened to my writing career was a lengthy rejection letter on my first book. Yes, I was hurt and emotionally wounded for a day or two. But when I got over my self-pity I realized it was like getting the answer sheet for a test in school. They rejected me, but they told me WHY. I was able to take different points of that letter and research them. Those weaknesses in my first book often show up over and over again. When I get a new rejection I get this "buzz" as I scan it looking for what I need to work on--it's like that friend who really will tell you if that dress makes you look fat. Are the editors always right? No--but they do read a whole lot of manuscripts and they didn't like mine. Knowing why helps me fix that one part rather than doing a complete overhaul.
All three of these things take effort and time--what have any of us accomplished without investing these two things? All three of these things are available to everyone, there is no discrimination, no entrance exams, no ACT scores required. And each of them will strengthen your writing--I guarantee it.
I was recently interviewed for an article and the journalist asked how I learned to write. I hadn't thought about this for awhile, and even after the interview was over I found myself going back to this one question. I do not have a college degree, I wasn't on the newspaper or yearbook staff in high school, I never won a writing contest or took anything beyond 101 writing classes in the one year of college I attended. I don't say this to brag, it's rather deflating to see that I missed so many opportunities--but I did. In many ways it made my road a harder one, I started several layers lower than most would-be-writers, and yet, I have written seven novels and my ability to write has definitely improved. Somewhere, somehow, I learned how to write. But how?
In dissecting the answer to that question I have found three points that were true to me, and I believe they are true to other writers in varying degrees as well. Not only were they helpful in the beginning, but they continue to be powerful. My challenge to each of you, is to consider each point in your own experience and your own writing, see how it measures up and if your current ability could be enhanced by going back to one of these points that perhaps has weakened.
1--What others Write--After I started writing my reading changed. I found myself taking apart books I read, even going as far as to write down what I liked and didn't like. I would often end up with things like. "I thought the main character was shallow." Then ask myself "Why?" At that point, I had to figure out why I felt that way so as not to repeat the mistake. Or perhaps I would observe. "I really liked the way the romantic tension increased" and ask myself "Why?" and I would ponder on this and answer it, thinking of ways I could use this information in my own book. This was MY university--the School of Other Writers. It's not simply 'editing' as you write, it's focusing on specific points, researching, putting into words the impressions you get.
2--Books on Writing. My first writing books were purchased without any recommendation. I simply went to Amazon.com and looked up writing books. They showed me the most popular ones and I bought three of them. To this day they are three of my favorite books, I go back to them again and again. Since then I have met many more writers, I've joined writing book groups, and I have a shelf of writing books to reference. No matter how many books on writing I have read, I find something I didn't know before. Rather than read them straight through, I often study a specific element such as "dialogue" and look it up in several resources to see what each author has to say about it so as to get a universal view.
3--Rejection Letters. The best thing that ever happened to my writing career was a lengthy rejection letter on my first book. Yes, I was hurt and emotionally wounded for a day or two. But when I got over my self-pity I realized it was like getting the answer sheet for a test in school. They rejected me, but they told me WHY. I was able to take different points of that letter and research them. Those weaknesses in my first book often show up over and over again. When I get a new rejection I get this "buzz" as I scan it looking for what I need to work on--it's like that friend who really will tell you if that dress makes you look fat. Are the editors always right? No--but they do read a whole lot of manuscripts and they didn't like mine. Knowing why helps me fix that one part rather than doing a complete overhaul.
All three of these things take effort and time--what have any of us accomplished without investing these two things? All three of these things are available to everyone, there is no discrimination, no entrance exams, no ACT scores required. And each of them will strengthen your writing--I guarantee it.
Thursday, May 24, 2007
Beware of Agents
By Heather Moore
Are bad agents for real?
You’ve probably submitted to them, you may have even been “accepted” and received a contract. Oh, the excitement. You are on the verge of all your dreams coming true? Right?
Wrong. Four years ago, I got an agent. I called my husband, I called my mom, and I called my sister. I had hit the big time. I signed the contract. But just before I mailed it, I decided to query a couple of the authors whom the agent represented. Just in case.
I googled like a private investigator and found four authors and their email addresses. In the next couple of days I received replies from all four. Unanimously, they said, “Don’t go with this agent.”
I was stunned. So I started doing more research. In the depths of the internet I found some complaints filed. One website (Preditors & Editors) listed them as: Not Recommended. After I recovered from my dreams being dashed by a few emails, I composed a letter back to the agency and politely declined their representation.
Most agents are part of fine, upstanding, accredited agencies. But how is it that the bad guys still creep through cracks? Miss Snark (anonymous NY agent) lists the 20 worst agents on her blog: http://www.sfwa.org/beware/twentyworst.html
Please pay attention to this list. But they aren’t the only ones. There are close to 400 questionable agencies operating. Before you query ANY agent, please, please, please check them out on Preditors & Editors: http://www.anotherealm.com/prededitors/
What makes an agency gain a spot on the Beware list? Here are just a few things:
1. Fee-charging: including reading fees, marketing or administrative fees, or any fee required for representation.
2. Paid editing or publishing referrals: some agencies are just fronts for editing services. If they tell you to get a professional edit before they can represent you, then they give you a referral to an editing company—be very suspicious. Some of these agencies are actually the editors, but use a front. An editor should always be independent of an agent.
3. Minimal track records (or none): Does the agency have a significant track record? Ask for a list of recent sales. This is common in the industry and should be no problem if the agency is valid. Sales to vanity presses are not legitimate.
4. Nonstandard contracts: If the agency asks for commissions on future work even if the agency doesn’t sell it, or bills you authors for normal business overhead such as travel and entertainment, etc., beware.
5. Unprofessional practices: If the agent bundles queries from several authors to one publisher, simultaneously submits, or adds unnecessary fluff with your submission such as photos, cover mockups or illustrations . . . it's a red flag.
Please do your research before submitting. Check out the agent’s website. Does anything look strange? Check out Preditors & Editors. Are they recommended or highly recommended? If an agency requests a partial or full and you’ve done your research, you still need to email some of their clients. Just to be sure.
Are bad agents for real?
You’ve probably submitted to them, you may have even been “accepted” and received a contract. Oh, the excitement. You are on the verge of all your dreams coming true? Right?
Wrong. Four years ago, I got an agent. I called my husband, I called my mom, and I called my sister. I had hit the big time. I signed the contract. But just before I mailed it, I decided to query a couple of the authors whom the agent represented. Just in case.
I googled like a private investigator and found four authors and their email addresses. In the next couple of days I received replies from all four. Unanimously, they said, “Don’t go with this agent.”
I was stunned. So I started doing more research. In the depths of the internet I found some complaints filed. One website (Preditors & Editors) listed them as: Not Recommended. After I recovered from my dreams being dashed by a few emails, I composed a letter back to the agency and politely declined their representation.
Most agents are part of fine, upstanding, accredited agencies. But how is it that the bad guys still creep through cracks? Miss Snark (anonymous NY agent) lists the 20 worst agents on her blog: http://www.sfwa.org/beware/twentyworst.html
Please pay attention to this list. But they aren’t the only ones. There are close to 400 questionable agencies operating. Before you query ANY agent, please, please, please check them out on Preditors & Editors: http://www.anotherealm.com/prededitors/
What makes an agency gain a spot on the Beware list? Here are just a few things:
1. Fee-charging: including reading fees, marketing or administrative fees, or any fee required for representation.
2. Paid editing or publishing referrals: some agencies are just fronts for editing services. If they tell you to get a professional edit before they can represent you, then they give you a referral to an editing company—be very suspicious. Some of these agencies are actually the editors, but use a front. An editor should always be independent of an agent.
3. Minimal track records (or none): Does the agency have a significant track record? Ask for a list of recent sales. This is common in the industry and should be no problem if the agency is valid. Sales to vanity presses are not legitimate.
4. Nonstandard contracts: If the agency asks for commissions on future work even if the agency doesn’t sell it, or bills you authors for normal business overhead such as travel and entertainment, etc., beware.
5. Unprofessional practices: If the agent bundles queries from several authors to one publisher, simultaneously submits, or adds unnecessary fluff with your submission such as photos, cover mockups or illustrations . . . it's a red flag.
Please do your research before submitting. Check out the agent’s website. Does anything look strange? Check out Preditors & Editors. Are they recommended or highly recommended? If an agency requests a partial or full and you’ve done your research, you still need to email some of their clients. Just to be sure.
Wednesday, May 23, 2007
Generating Articles
by Annette Lyon
I've had a lot of success in recent months selling articles to magazines. In addition to hearing, "Congratulations," and "I'm jealous," I'm also hearing, "How do you get your article ideas?"
You can learn about ideas, finding angles, and writing what you know in writing magazines and books. I did all that for years and still couldn't seem to manage to come up with many concrete, specfic ideas.
But below, I'm about to spill what I finally learned about getting article ideas.
1) Read the ads, not the articles.
Contrary to what you might think, magazines make the bulk of their money from selling ad space, not from selling subscriptions. If you pitch an article that might sell them more ad space, you have a better chance of getting your foot in the door.
Several months ago I noticed that a magazine I subscribe to had a lot of ads from companies specializing in modest clothing like extra-long t-shirts and formal dresses with sleeves and low hemlines. I pitched an article on how to dress fashionably and while fully covered, complete with side bars that had resources for companies that carried such clothing. The magazine snatched it up. (And can you guess where they turned to for selling ads that month? Yep. My side bar contact information.)
2) Look months ahead.
Several magazines actually post their upcoming topics online. Such listings are a freelancer's goldmine. If an editor is looking for something about easy Halloween costumes for the October issue, by all means, send one in! Just be sure to read deadlines and note lead times. Magazines don't go by the typical calendar. When the rest of the population is thinking summer, editors are thinking winter or even spring.
3) Follow trends and twist them.
If you've followed a magazine for a while, you know what topics they've covered and what they like. Capitalize on that. Find a similar but untapped topic. If they recently ran an article about sending a child off to college, pitch one about how parents can keep in touch with that child once they're AT college.
4) Find what you know that's abnormal.
I recently threw together an article last minute that I thought was rather obvious and lame. The editor took it, I thought, because she needed to fill a space and was desperate. But I've had lots of people tell me they thought it was wonderful, and the editor has used me several times since then. Turns out that not everyone knows this stuff after all, and I can capitalize on that fact.
Everyone has knowledge that no one else does. The trick is finding out what you know that others don't. You might be surprised how much you know that you can share.
Use a few of these tips, and you could be selling some articles of your own. It's easier than you might think!
I've had a lot of success in recent months selling articles to magazines. In addition to hearing, "Congratulations," and "I'm jealous," I'm also hearing, "How do you get your article ideas?"
You can learn about ideas, finding angles, and writing what you know in writing magazines and books. I did all that for years and still couldn't seem to manage to come up with many concrete, specfic ideas.
But below, I'm about to spill what I finally learned about getting article ideas.
1) Read the ads, not the articles.
Contrary to what you might think, magazines make the bulk of their money from selling ad space, not from selling subscriptions. If you pitch an article that might sell them more ad space, you have a better chance of getting your foot in the door.
Several months ago I noticed that a magazine I subscribe to had a lot of ads from companies specializing in modest clothing like extra-long t-shirts and formal dresses with sleeves and low hemlines. I pitched an article on how to dress fashionably and while fully covered, complete with side bars that had resources for companies that carried such clothing. The magazine snatched it up. (And can you guess where they turned to for selling ads that month? Yep. My side bar contact information.)
2) Look months ahead.
Several magazines actually post their upcoming topics online. Such listings are a freelancer's goldmine. If an editor is looking for something about easy Halloween costumes for the October issue, by all means, send one in! Just be sure to read deadlines and note lead times. Magazines don't go by the typical calendar. When the rest of the population is thinking summer, editors are thinking winter or even spring.
3) Follow trends and twist them.
If you've followed a magazine for a while, you know what topics they've covered and what they like. Capitalize on that. Find a similar but untapped topic. If they recently ran an article about sending a child off to college, pitch one about how parents can keep in touch with that child once they're AT college.
4) Find what you know that's abnormal.
I recently threw together an article last minute that I thought was rather obvious and lame. The editor took it, I thought, because she needed to fill a space and was desperate. But I've had lots of people tell me they thought it was wonderful, and the editor has used me several times since then. Turns out that not everyone knows this stuff after all, and I can capitalize on that fact.
Everyone has knowledge that no one else does. The trick is finding out what you know that others don't. You might be surprised how much you know that you can share.
Use a few of these tips, and you could be selling some articles of your own. It's easier than you might think!
Sunday, May 20, 2007
Getting Ideas
by Lu Ann Brobst Staheli
I attend a lot of conferences where published authors speak. Without fail, the most often asked question from the audience is: Where do your ideas come from? Although writers often have specific events that trigger a scene or an entire story, the most reliable answer to this question is everywhere!
Writers are people who pay attention. They watch for the small detail, snatch segments of interesting conversations, see how life itself fits neatly into the outline of a plot, get inspiration from their own life, the lives of others, things they see on television, in the movies, read in books, and on and on.
The difference between the author and anyone else is that the writer actually writes. Most people who say they would like to write just never take the time to do so, letting their ideas stagnate until they just fade away.
If you’d like to write, but think you don’t have any ideas, here are a few techniques that might get you started. Keep a journal to record your ideas.
You’ll be amazed by how many new ideas will come into your head, and when a reader asks where your ideas come from, you’ll have the answer.
I attend a lot of conferences where published authors speak. Without fail, the most often asked question from the audience is: Where do your ideas come from? Although writers often have specific events that trigger a scene or an entire story, the most reliable answer to this question is everywhere!
Writers are people who pay attention. They watch for the small detail, snatch segments of interesting conversations, see how life itself fits neatly into the outline of a plot, get inspiration from their own life, the lives of others, things they see on television, in the movies, read in books, and on and on.
The difference between the author and anyone else is that the writer actually writes. Most people who say they would like to write just never take the time to do so, letting their ideas stagnate until they just fade away.
If you’d like to write, but think you don’t have any ideas, here are a few techniques that might get you started. Keep a journal to record your ideas.
- Free-writing is to write whatever pops into your head. Start with a word or topic like Christmas. Don’t worry about complete sentences or proper punctuation. Set a timer for ten minutes and don’t stop writing until the buzzer sounds, even if you have to keep writing the same word over and over.
- Brainstorming uses free association. Write a subject at the top of your paper, then list every idea that comes to your mind relating to that idea.
- Clustering, also known as webbing, uses this same principle, only you make word bubbles which connect ideas across your page.
- Asking questions is a technique used by news reporters. Ask: Who, What, Where, When, How, and Why. Although not every topic can answer every question, you’ll have plenty of raw material to write a rough draft.
- Use your senses. Most people rely on the sense of sight, but every second you’re awake your brain is taking in information from all five of your senses: sight, hearing, smell, taste, and touch. Even the most common places overflow with sensory detail if you just stop to notice them.
- What if questioning is a creative thinking technique which allows the writer to use cause and effect thinking. Author Stephen King sometimes uses this method. "What if you could bury something dead and it came back to life? What if a car had a personality and learned to love its owner? What if you could start a fire just by thinking about it?" If you’re a King fan, you will recognize the questions as some of his famous books.
You’ll be amazed by how many new ideas will come into your head, and when a reader asks where your ideas come from, you’ll have the answer.
Thursday, May 17, 2007
The Back Story: Take it or Leave it
by Heather Moore
How much back story should you give when you introduce a character? Does the reader need to know your heroine’s date of birth, list of allergies, and favorite teacher in third grade? ONLY if it’s essential to the story. In my critique group we call this info dump. Novelists who are just getting their feet wet often make the common mistake of characterizing by writing back story—lots of it. Your reader really doesn’t need to know whether a character prefers one aspirin or two. This is not characterization.
There’s plenty of time to catch the reader up with the essentials, so don’t do it on the first page, or in the first chapter.
Recently I attended the URWA conference in Salt Lake City. Two agents attended.
Their pet peeves on submissions were:
1. Too much back story
2. Too much internalization
3. Lack of place
4. Adverbs in dialog tags
5. Over written 1st page—too much description
6. Actions not consistent with characters
7. Villain who is not motivated, but insane
At the same conference, Karen Robards, author of multiple NY Times Bestsellers, said this about chapter one:
1. Start your book at the moment where something major happens
2. No background in first page
3. No scenic description
4. You can put some back story in the middle of the first chapter: make it short and vivid
5. End your chapters with a cliffhanger—no conclusion, or you are giving the reader a reason to put the book down.
Take another look at your first chapter. See if you have overdone the back story. Hook the reader then drop in nuggets of back story along the way, but only what is necessary.
How much back story should you give when you introduce a character? Does the reader need to know your heroine’s date of birth, list of allergies, and favorite teacher in third grade? ONLY if it’s essential to the story. In my critique group we call this info dump. Novelists who are just getting their feet wet often make the common mistake of characterizing by writing back story—lots of it. Your reader really doesn’t need to know whether a character prefers one aspirin or two. This is not characterization.
There’s plenty of time to catch the reader up with the essentials, so don’t do it on the first page, or in the first chapter.
Recently I attended the URWA conference in Salt Lake City. Two agents attended.
Their pet peeves on submissions were:
1. Too much back story
2. Too much internalization
3. Lack of place
4. Adverbs in dialog tags
5. Over written 1st page—too much description
6. Actions not consistent with characters
7. Villain who is not motivated, but insane
At the same conference, Karen Robards, author of multiple NY Times Bestsellers, said this about chapter one:
1. Start your book at the moment where something major happens
2. No background in first page
3. No scenic description
4. You can put some back story in the middle of the first chapter: make it short and vivid
5. End your chapters with a cliffhanger—no conclusion, or you are giving the reader a reason to put the book down.
Take another look at your first chapter. See if you have overdone the back story. Hook the reader then drop in nuggets of back story along the way, but only what is necessary.
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