Category Archives: Creative Writing

Character Change Vs. Character Growth

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Hello everyone, I do hope you are having a great day.  To catch you up on my activities since my last blog write. I’ve sent Thomas Gomel Learns About Bullying to the publisher for approval.  I also did an upgrade on Princess Adele’s Dragon and had it republished in ebook form. I’ve kept myself busy writing and entering contests on Fanstory. After the article below I will be posting a short story called The Lake. I do hope you enjoy this week’s blog.  Until next time have a blessed week.    Shirley

PS. By the way, you can possibly win a copy of Princess Adele’s Dragon by following the link, especially if you like medieval dragons, kings, queens, and knights.

Link: https://giveaway.amazon.com/p/065f308c42ab7cba

 

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Main characters don’t have to change to grow.  They can grow in their resolve.

It is a common misconception among authors that the main character in a story must change in order to grow.  Certainly, that is one kind of story,  as in A Christmas Carol where Scrooge alters his way of looking at the world and his role in it.  But other stories are about characters overcoming pressures put upon them to change their viewpoint and holding on to their beliefs, such as in Field of Dreams where main character Ray Kinsella builds a baseball stadium in his cornfield believing the old time players (and eventually even his father) will come to play.  In the end, he is not dissuaded from what appears to be a quixotic plan of a misguided mind, and his steadfastness results in the achievement of his dreams.

It is essential in any novel or movie for the readers/audience to understand whether or not the main character ultimately changes to adopt a new point of view or holds on to his beliefs.  Only then can the story provide a message that a particular point of view is (in the author’s opinion) the right or wrong way of thinking to achieve success and personal fulfillment.

But not all stories have happy endings.  Sometimes, the main character changes when he should have stuck with his guns in regard to his beliefs and becomes corrupted or diminished or fails to achieve his goals  A good example of this is in the movie The Mist(based on a Stephen King novel) in which the main character finally decides to give up on trying to find safety from monsters and shoots his son and surrogate family to save them from a horrible death only to have rescuers show up a moment later.

Other times, holding onto a belief system leads to tragic endings as well, as in Moby Dickin which the main character, Captain Ahab (Ishmael is the narrator), holds onto his quest for revenge until it leads to the death of himself and the destruction of his ship and the death of all his crew, save Ismael who lived to tell the tale.

Though writing is an organic endeavor, when you make specific decisions such as whether your main character will change or remain steadfast and what outcome that will bring about, you strengthen your message and provide a clear purpose to your storytelling that results in a strong spine in your novel or screenplay.

Melanie Anne Phillips


 

 

The Lake

lake2The last time I saw Charlie, he laughed as we drove into Crystal Springs Lake. I knew we would have hell to pay for sneaking out, but I never imagined how this fun evening would end.

Charlie and I were friends from the first grade. We were neighbors, and as adventurous boys, we spent every second together we could manage. We were as different as two people could be. I’m quiet and shy, and Charlie was the fellow that drew people to him like June bugs to a light. Maybe it was his good looks with his coal black hair and that cleft in his chin. He was muscular, athletic and all the girls flirted with him every chance they got. He didn’t care. The only thing he wanted besides our friendship was the full football scholarship at Harvard.

We had a good time throughout school. As this was our last year at Grady High School there was a lot of pressure on Charlie to perform. He actually did it to himself, but if I tried to talk to him, he wouldn’t listen. “Charlie, you have to lighten up a bit. You can’t go on at the pace you’re going. It’s been weeks since we’ve done anything together. You study and practice football. Take time to relax. Quit worrying about that entrance exam. You have it aced.”

“Sure, I do, but it doesn’t feel like it. I feel like everything inside of me is about to explode. I have to keep pushing myself to keep the pressure down, but I’m ready for something different. I’ll listen to you just because you’re my best friend and I love you like a brother. What do you want to do?” Charlie asked.

I had to think of something we would enjoy together and take the pressure off of him. “I’ve got an idea. Let’s go to the lake after dark and go skinny dipping. We haven’t done that in a long time.”

“Are you crazy?” Charlie asked. “We haven’t been skinny dipping since we were twelve years old.”

“Yeah, I know, and it’ll be fun. Just like old times.  What do you say?”

We were both laughing, and Charlie said “Let’s do it. I want to be twelve again and forget all about school and football. I’ll be at your house at 7:00 and you can drive.”

“Sounds good to me. I don’t mind driving at all, and I’ll even bring us snacks and cold drinks. See you then.”

I left his room and went back to my house. I got everything ready and packed it in my car. Since my mom and dad weren’t home, I left them a note so they wouldn’t worry about me. Charlie was at my door promptly at 7:00.

It was a great drive out to the lake. We had the windows down and the radio up. We were laughing, singing and shouting at the top of our lungs as we drove to our spot. We were trying our best to be twelve-year-olds again.

It was dark when we arrived, but we didn’t care. We unloaded the car and set up our blanket right at the edge of the lake. It wasn’t the first time we had swum in the dark. I brought two flashlights, but we didn’t turn them on. We were happy. We liked this spot because we could dive into the lake. It was easy in and out of the water. We got rid of our clothes quickly and then laughed at each other as we stood there as naked as the day we were born.

Charlie slapped me on the back. “Are you ready? I am.” He backed up three steps and ran and dove into the lake. I jumped in feet first, as always. The water was cold and sent a shiver over my body. I didn’t hear Charlie laughing, so I looked around.  I didn’t see him. The lake was smooth as glass. I called his name. He never answered, so I climbed out of the lake slipped on my pants and got the lights. My hands shook so hard I had trouble turning on the lights. I shined the beams over the water, and I still couldn’t see him. I knew something was wrong.  I got my cell phone and called 911. I had a terrible time as I tried to get the words out to report Charlie missing.

I tried to sit but couldn’t stay still. I walked back towards the main road thinking I would meet the authorities. That was silly, it wouldn’t make them arrive any faster. I turned back towards the lake moving the beam of one of the flashlights around. What was that? I brought the light back to what looked like a sign. When the beam of light hit it, I got sick to my stomach. The sign read: No swimming until further notice. Alligator sighting today.

I’ve Finished, (sort of)

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One part of me is going hurray and celebrating but then another part is going, gosh, now I go publisher shopping and setting up more advertising. There is always something more to do with a book that is yet to be published.

Right now I am wanting Beta readers to read the book and give me an opinion on whether they would purchase the book or not. One part of my mind is going why wouldn’t anyone like a book that could teach them how to react and/or treat a bully at school.

I hear rave things about the book from my writing group, but then the devil on my shoulder starts talking and tells me it’s not true. They just say that so they can earn credit or because you said something nice about their writing. For me it’s a constant Dr. Jeckell and Mr. Hyde, depending on the time that you speak with me. I will persevere and this book will be published.

If you would like to read this book in word or PDF and give me an honest opinion, I would be happy to send it to you.  Just email me at shirley_mclain@yahoo.com and let me know.

Thomas Gomel FRONT

 

Here is a short story for you called “No Pain, Just Memories”

It’s rough being a girl, going through the teen years. Not a child but not an adult either. One minute you are silly with giggles. The next minute you are miserable with your heart feeling as if it’s broken in half. You’re not old enough to drink but you know that’s what a lot of people do when they have a broken heart.

My day started out so well due to the fact Mike called and wanted to see me. My heart was racing because I knew he was going to ask me to go steady. I could see the high school ring on my finger with tape wrapped around the shank to make it fit.

“Mom, can I go to town for a couple of hours? I want to go to Walmart to pick up some writing paper for school.”

“Have you got your ironing done? You can’t go anywhere until those clothes are taken care of,” Mom says in her I mean what I say voice.

“I’ve got two pieces left and they will be done before I go. Is it OK, can I go?”

“Alright, but you be home before you dad gets in from work.”

“Thanks, Mom,” I tried to keep the absolute joy out of my voice when I answered her. I get to see Mike today.

I hurried to finish the ironing so I could get ready for my anticipated visual idolization of Mike’s handsome face. He was such a dream. That blonde hair which fell into his eyes, oh those wonderful eyes with the longest lashes I’d seen in my life. They were so clear and such a bright color of blue. Even if I hadn’t loved all of him, I would love him for his eyes alone.

I managed to get dressed without changing clothes four times because I was in a hurry. I left the house in my old car that I drove back and forth to school that had a rotten floorboard. Even though the bus stopped at our front door, I was much too old to have to ride that bus with all those screaming, snotty-nosed kids.

I drove straight to the place where Mike was staying while he worked his summer job. I should’ve known something was wrong when he came outside instead of inviting me in as he’d always done before. I didn’t even get the hello kiss that was our custom. I had a fleeting thought something was going on, but I pushed it away.

“Hi, Mike. I got here as soon as I could. Mom made me finish my ironing before I could come to town.”

“Thanks for coming down. We need to talk,” Mike said. He walked me towards my car not saying anything.

When we got back to my car, I asked Mike, “What do we need to talk about?”

He looked down at me from those wonderful blue eyes and said. “I don’t think we should see each other anymore. My summer job is ending soon and I will be returning to school. Besides, there is someone else I want to date. I thought it was only fair that I tell you straight out.”

I kept my cool while he was talking but I could feel the tears begin to burn my eyes. I had the urge to scream, Who is the dirty, rotten, floozy that’s taken, my man? “OK, Mike, if that’s what you want. I understand. Thanks for being honest with me.” I got in my car as gracefully as I could and drove away. I didn’t get far before I was sobbing for my lost love.

As I looked back at that time, I wondered at how silly that young girl was. A girl’s first heartbreak is something she never forgets and an experience most of us have had to go through. I’m an old woman now and it’s as fresh today as it was then. No pain just memories.

I hope you enjoyed the story as much as I did writing it.  Have a blessed week  Shirley

Obtaining Writing Agent Attention

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agentGood morning, I thought today I would give just a few pointers on how to get a Writing Agents attention.  I know not everyone uses an agent but just in case you want on here on a few tips:

  1. Be authentic, show your true self, be energetic and sincere
  2. Build your platform now. Don’t wait until your book is published to start working to sell your book.
  3. Be knowledgeable and honest enough about yourself to showcase your best skills.
  4. Be Prepared with chapters to show, outline, your ideas for shaping your book.
  5. Be original, open minds, and “capture a fundamental sentiment that we hadn’t been able to articulate on our own” stated agent Rita Rosenkranz.

 

The following is an article posted by Rachelle Gardner in The Writer Magazine on why writers need agents. I hope you enjoy.

Many times I’ve answered the question of why you, a writer (singular), might need an agent (also singular). I addressed it in posts such as 10 Things to Expect from an Agent and Earning Our Keep. Agent Nathan Bransford gave a terrific rundown on what agents do, here and my client Jody Hedlund gave the perspective of a contracted, newly agented author here.

But today I want to answer a slightly different question. Why do authors, collectively, need agents (plural)? How does the existence of agents in this business help all authors?

You, as an individual author, may or may not require the services of an individual agent. But whether or not you realize it, whenever you deal with a publisher, you’re benefitting from the collective work of agents over the years.

For the last few decades, agents have been on the front lines when it comes to advocating for authors in their relationships with publishers. It’s interesting to speculate on the state of publishing contracts if agents had never been involved and authors had to fend for themselves or just take whatever the publisher was offering.

The economics of publishing are tough, and like in any business, publishers are always trying to figure ways to save money – or a least keep their money longer. Naturally, they come up with brilliant money-saving ideas that involve paying authors less. They try to lower royalty rates; they try to bump up the royalty breaks (i.e. raise the number of copies you must sell before bumping to a higher royalty rate); they may want to extend the length of time over which they pay out the author’s advance (a huge bone of contention right now between agents and a couple of the largest publishers); and of course, they sometimes try to pay lower advances.

Those are the simple things. The last couple of years have seen publishers and agents battling it out over e-book royalty rates and numerous other areas related to new digital technologies. And besides the money, there are other contract points that agents constantly work to keep fair for their clients—everything from option clauses to author copies to author buy-back rates and more. It’s complicated and tricky trying to negotiate all these points in such a rapidly changing publishing environment.

But over all the years and all the changes in publishing, agents collectively have had the knowledge and the clout to duke it out with publishers on a contract-by-contract basis, holding as much ground for authors as possible. For example, if you sign a contract on your own with a small independent publisher, and they offer you a 25% royalty on e-book sales, you have agents to thank for that, because at first, many publishers were trying to fold e-book sales into their regular royalty schedule, meaning you’d only be making 10% to 15% royalty. But agents have, for the most part, changed that.

An interesting nod to the importance of agents in the publishing process happened last month when Random House CEO Markus Dohle sent a detailed letter explaining the company’s new policy involving e-rights (which quickly became known as RH’s “retroactive rights grab”). To whom did Mr. Dohle send the letter? Literary agents.

As we continue into the confusing new world of digital publishing, authors are going to need advocates more than ever. You are going to have your hands full, trying to work your full-time job plus write your books plus market them. You won’t have time to become an expert on publishing contracts, too.

Just remember, if you choose to sign with a royalty publisher and stay agent-less, you may be missing out on the latest knowledge and expertise that will protect the value of your intellectual property; but you’ll probably also benefit from the work agents have already done in the last few decades.

Your agent doesn’t just work for you. Each agent is, in their own small way, protecting the rights of all authors. So love ’em or hate ’em, it doesn’t matter because if you’re an author, agents are your friends.

P.S. I imagine some of you will argue that it’s really the other way around—that agents need authors. Well, of course, that’s true. We need authors if we want this job. But if authors didn’t need agents, none of us would have this agenting job in the first place, so it’s kind of a moot point. When authors stop needing agents, agents will cease to play a part in the publishing industry.

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New Book Coming on Bullying

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Here I am again, the lady that disappeared for a while. I did find out I couldn’t stay away from my writing even though I didn’t blog as I should have. I have been working on a new book that is for children above 10 and parents to learn about bullying. It’s called Thomas Gomel Learns About Bullying. What I’m doing is writing a fictional story using a 12-year-oldThomas Gomel FRONT.jpg boy and his family to teach children how to handle bullies as well as the parent dealing with a child that is being bullied. What do you think of my cover? Does it give a message to you when you see it?

Let”s talk about our bullying experiences if you had any. I have actually heard from some who did not have any problems. How wonderful for them.  I wasn’t one of those people. I was a new kid in a small school that moved from California to Oklahoma. I didn’t look right, I didn’t talk right. I just wasn’t right for about six years.  I had two very dear friends that helped me survive School.  I am almost 70 now and that trauma is not forgotten. I forgave and made some friends of those school chums, but the trauma I went through really never left my mind.

Young Adult Book Clubs Can be a Tough Crowd.

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kariong-library-book-clubI love reading young adult stories even though I’m almost 68 years old. I can’t tell you why I like it, but I do. In fact, the last book I wrote, “Princess Adele’s Dragon,” was a young adult fantasy. The one thing I found out when trying to tell my story about Princess Adele was I had to get and keep my audience attention. How does a geriatric woman get their attention?  I can’t dance because I’m to stiff.  I don’t know where to start when it comes to doing a rap. I can certainly read the story with a little acting taking place, at least using my arms. Then I have the problem of the kids thinking I’m going to throw the book at them with my arm gyrations.

I read where Henry Winkler (The Fonz) and his co-writer Lin Oliver do a kid-friendly presentation of Hank Zipzer. It’s dynamic, with lots of visuals on the screen. The trick is to get the audience involved. Besides haveing visuals you can come up with a hands-on activity.  I think I might bring play dough and let them make me a dragon just to see what their minds come up with.

Young readers are perceptive and the middle school grades are trying to put their world together along with their identity. If they can really get into a book they identify with the characters. Book clubs is a safe place for that type of exploration to go on. Henry and Lin actually go to the Young Adult Book Clubs to give their presentation. Some are at school and others are after school or on Saturdays.

If you have a middle school age child you might think about getting them involved with a book club. That might solve a problem with keeping them occupied.

 

 

 

Different Strokes for Different Folks

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Different Strokes for Different Folks

Hello, everyone. I hope all of you experienced a great week. Today I’m giving you a blog that discusses how you can broaden your story and your readership from an article by Bharti Kirchner. This was originally published in the Writer magazine.

Why venture into unaccustomed territory when it comes to characters? In a globalized world, re regularly meet people.e very different from us in race, class, ethnicity, religion, politics or ideology.  Modern novels and memoirs, as mirrors of a society, increasingly depict this heterogeneity.

In addition to expanding our readership, a diverse character, whether the protagonist or a secondary character brings a broader voice to a story. In the case of the novel Tulip Season, protagonist Mitra meets a mysterious German man, and the contrast between the two adds an element of tension.  With dissimilar actions, attitudes and world views, backgrounds and upbringings, their interactions spark a great exploration of Mitra’s world.

Creating Authenticity: How do you get started writing about a person foreign to you? By immersing yourself in that particular culture of community through direct contact and by building relationships.  Armchair travel can also help, as can books, videos, movies, art, and the Web. Remember, in the end, it’s your story and it’s fiction.  You’re facing challenges no matter what.  “If you’re going to write fiction, you’re going to write about people who aren’t you,” says David Guterson, author of 10 books, including Snow Falling on Cedars.  “You should feel some healthy trepidation about that.”

Respect, openness, and empathy are keys to depicting an unfamiliar culture or perspective.  Here are additional tips and techniques.

First Impressions: What a reader first notices is how the character looks, dresses, sounds and behaves.  Bring the character alive with physical descriptions, but not too much and not all at once.  Allow readers to use their imagination to fill in the blanks.  Pay special attention to the rhythm of the spoken language.  A foreign born person might speak with an accent and fall back on native words as necessary.

A Character from Inside Out: You’re writing about individuals, and the methods you usually employ to develop a character of any kind still applies. Remember that all cultures have hopes, fears, and dreams, and it’s your job to portray that.

Does a diverse character have to be sympathetic?  Peter Mountford, the author of two novels, including A Young Man’s Guide to Late Capitalism, says no.  “Actually, I’m not sure he is very sympathetic because of the choices he makes,” Mountford says of Gabriel do Boys, the 26-year-old, biracial protagonist in his novel.  “He builds a lucrative career instead of abandoning it for love.  I feel for him, definitely, but a lot of readers struggle with him, and I suppose that is the key to writing “the other,” for me.”

Beliefs and Conflicts: Every culture or community holds common beliefs about marriage, family, money, status and friendship.  A character is likely to suffer moth internal and external conflicts when going against these beliefs and sometimes even when conforming to them.

Showing Universality: By wrestling with choices and obstacles, a diverse character, like any other, grows and changes.  In the process, he or she displays common human characteristics as fear, anger, joy and love.  Although I’m different, I’d feel much the same in the same situation, the reader realizes, and perhaps gets more involved in the book.

You can make a character accessible in other ways.  Show how he or she relates to friends.  Let him or her grapple with everyday issues like traffic.  An element of humor can also help.  We gravitate toward people who lighten our days with a joke or a funny situation.  It is in those moments that we let go of our differences and embrace our common humanity.

 

I hope this article helps to make your writing this week easier. The more knowledge we have the better writers we are.  Blessings to all.

Eight Steps to Become Noticed

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Hello everyone, I have been away from my blog for what seems like forever and I have missed it and my online friends.  Today I want to share with you an article I read by Pete Croatto, on how to get noticed by the editors. If you want an editor it will take some work to get noticed.

  1.  Take Initiative:  In an ideal world, our talent would be a siren song for editors far and wide.  In a world of tight budgets and staff meetings, editors need story ideas and good ones.  That means writing a pitch letter that shows you know the publication and what it wants. “What gets me to notice someone is I can notice immediately if they have a familiarity with the magazine,” says Mark Rotella, senior editor at Publishers Weekly.  “They might have mentioned an article they had read or a review that they read.  Usually, people are pretty specific about what section of the magazine they want to write for.  Basically, if they’re pitching me about the magazine, I want to see that they’ve read it.”
  2. Make the job Easier:  Sara Benincasa, author of Real Artists Have Day Jobs ( And Other Awesome Things They Don’t Teach You in School), says it’s key to do as much work for the editor as possible without overstepping.  “Don’t expect that your editor has a comprehensive knowledge of the television show or trend or book or political issue that you would like to discuss in your writing,” she says.  “Provide links, easy explanations.  Provide assistance without the legwork to show your editor that your pitch is for a story that will bring in views, and readers attention in a positive way.”
  3.  Follow Up:  This isn’t tennis.  The ball keeps moving only if you keep hitting it.  If you haven’t heard back after a week or two, politely inquire so you can either start writing or send your idea elsewhere.  Rotella, who has written for the New York Times and American Heritage, says the delay worked or the pitch came at the wrong time.
  4. Try, Try Again: An editor’s disinterest or silence should not be taken as an affront.  That even applies to repeat clients. “I follow up and pitch more stuff without being annoying and contacting the editor too much,” Benincasa says.  “If they liked my work the first time, they will respond.  If they did not like my work they will not respond.  I do a pitch, I follow up once and if I don’t hear anything, I move on.”  In other words, our confidence in your idea should drive you.
  5. Look Beyond Big Names:  Chances are you’re not going to make it into The New Yorker and not every profile will land in GQ. (But don’t be afraid to try.) Get published, get paid and use the clips as a down payment for more desirable venues.  Write Always.  That’s the only way you get better and pay your bills.
  6. Proofread A Lot:  Once you get an assignment, it’s easy to get noticed for the wrong reasons.  Rotella has an aversion to writers who can’t meet deadlines or follow directions, but says, “Nothing is worse, for me than if I have to spend too much time editing because of sloppiness.  That is a real discouragement.” Be professional. Proofread, fact-check and make yourself available to address any concerns your editor has.
  7. Play Nice with Others:  Veteran freelance journalist Jen A. Miller got a big assignment from a new publication when a fact-checker there remembered Miller’s work at another publication.  “Sometimes that can be an incredibly tedious process,” she says. “You’re already done with a story, you don’t want to deal with it anymore, you don’t want to deal with the fact-checker, but you don’t know where that fact-checker is going to end up.”
  8. Finally, Be Easy to Find:  That comes courtesy Miller, author of Running: A Love Story and a regular contributor to The New York times and Runner’s World.  She believes every writer must have a website. “It sets you up as a professional,” she says.

I do hope this article was helpful and it gave you some incite on what you need to do to snag that elusive editor.  Have a blessed week.

The Workaholic (Short Story)

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Hello, everyone, I wrote this a couple of days ago and thought I would share it. It is a story about a man who let work rule his life. I hope you enjoy it.   Shirley

 

The Workaholic

 

James stood by the large picture windows, gazing over the open fields, to the purple-tinged mountains beyond. Darkness would be coming soon and with it a storm. He flinched as a crack of lightning split the murky sky. He turned and threw another log on the open fire, sending a flurry of ash into the air. He refilled his whiskey glass and took a deep sip. He savored the taste as it warmed his throat. He was trying to build up the courage to make that phone call he had been putting off all day. He reached for the phone just as it started to ring.

His heart began to pound as he grabbed for the receiver. The tentative nature of his voice was heard clearly as he murmured, “Hello.”

“Hello, James, this is Edmond from Buying Direct and do I have a deal for you.”

“What, oh hell, don’t call again,” he shouted as he slammed the receiver down. I’m not calling her. She is the one who left. His mind immediately went back to a week ago when he came home after being gone for two weeks and found her and the kids were gone. He was expecting his two-year-old daughter to start screaming “daddy” as soon as she realized he was home, and his five-year-old son starts asking to go out back and play catch. So much for expectations. What he got was an empty house with a note left on the dining room table. He’d memorized every word since he’d read it so many times.

James, I’ve taken the kids and moved out. I’ve tried to talk to you many times, but you kept putting me off or not listening at all. You can’t stay away from home for weeks and expect me to handle the house, the kids, the bills and that dog of yours. Don’t bother calling Mom’s because I’m not going there. If I want to talk to you, which I doubt. I will call you. April

After reading the note, James made his bar area his most favorite spot in the house. The drinking began the day he got home and has only stopped when he passes out on the couch. Normally he is fastidious about his appearance but not this week. He looks like a drunk on skid row. His facial hair now has six days’ growth, not to mention the hair on his head is greasy. He’s not removed his clothes since he walked through the door. They smell like body odor and wet dog scent and are very wrinkled.

The storm rumbling outside enhanced James’s angry mood. He couldn’t believe, after all, the years they’d been together, and as hard as he worked, she left. She can stay gone. I don’t need her, and I will fight for custody of the kids. She’s not going to get away with doing this to our family. James picked up his glass from the coffee table poured himself another glass of Crown Royal over rocks. He’d lost count of the number of times he’d filled his glass.

“Come here, Brutus. You will be my family. Won’t you boy? You love me don’t you? We don’t need her.” The Mastiff shook his head slinging saliva on the coffee table before he jumped up to lay beside James on the couch. James began to rub Brutus’s head and ears. “You’re such a good boy. You won’t leave me, will you?”

 

“You know, Old Boy, I have to go back to work on Monday. I don’t think I can go back to Raleigh and leave you here. I’ll give my boss a call tomorrow and tell him I can’t abandon you. I’m sure he’ll understand. There’s no way I’m leaving you here. She’ll be sorry she left us. You wait and see.”

The phone rang again but this time, James was too inebriated to care who was on the phone. He picked up the phone and slurred “Hello.”

“James, it’s April.”

“Yeah, what do you want?”

“The kids want to talk to you, but I can hear in your voice this is not a good time.”

“Why in the hell would you care what kind of time it is. You’re not here. You took them and ran away.”

“Sober up James if you want to talk to the kids. Goodbye”

The phone clicked, and she was gone. He didn’t even bother to hang it up before he laid down on the couch and passed out.

Who Is That Character?

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I’ve been told you must know your characters.  Your main characters desires should be known.  If you want your character to gather the sympathy from your readers, then give the character a strong desire.  What is being strived for, a new job, romance, riches, and knowledge?  If your character doesn’t have a need, do you think your readers will find excitement in your book? How do you say “boring?”You have to make your character multidimensional, and not leave him flat.  What creates the most vivid picture, 3D or regular television?   It is a matter of contrast in your characters.  As humans, we are very complicated, and you have to show that complication in your characters also. That way your reader can get interested in your character.

Your contrasts should be worked into your story, so they do not become roadblocks for the reader.  You want your story to keep moving forward.  You can have your character step out from the usual character portrayed as long as the tendency has been shown before.  That way it is not a stopping point.

Gotham’s “Writing Fiction” states,” your characters should have the ability to change, and the reader should know it.  Change is particularly important for a story’s main character.  Just as the desire of the main character drives the story, the character’s change is often the story’s culmination.”

This doesn’t mean your main character has to change, but the reader should always know change is possible.  Predictability is created if you do not give the character the potential to change.

I have covered a few ways to help you create a character that your reader can get to know.  The video today on creating characters.

PS this video gives lots of good information, but there is cafe noise in the background.

6 Steps for Writing a book Synopsis

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snopsisSince Princess Adele’s Dragon has now been published I have to write a synopsis of the story.  I decided to look for some help and found this blog by Marissa Meyer. It broke the synopsis down into easy to handle pieces. I hope you find it helpful.  Shirley    http://amzn.to/25lUOYM
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Confession: I enjoy writing query letters. I know that most writers loathe them, but I always thought the query letter was a fun challenge. The challenge of trying to distil your novel down to its essence, giving just enough information to draw the agent or editor into the story, but without giving away so much that the manuscript loses all sense of mystery.

However, I feel quite differently about the second-most dreaded item of many submission packages: the Synopsis.

The book synopsis is that three- or four-page snapshot of the book, that essentially tells your story from beginning to end while seemingly stripping it of any intrigue, humor, or emotional resonance. To me, writing a synopsis that could leave a reader still wanting to read the actual manuscript always seemed like a much bigger challenge than the query letter.

Unfortunately, it turns out that getting published does not necessarily mean we don’t ever have to write a synopsis again.

Last January, when it came time to my agent and me to start talking with my publisher about My Next Book (which was the Super Secret Project I wrote during NaNoWriMo last November), the submission package we pulled together was remarkably similar to the package we’d used to sell the Lunar Chronicles:

– A pitch letter (similar to a query), illustrating the concept and major conflict of the book.

– The first 50 pages, edited and polished to a glowy sheen.

– The synopsis of the book (although some plot points are subject to change).

So rather than whine and complain about how much I hate writing synopses, I decided to take the opportunity to embrace the synopsis writing challenge, and figure out a process for writing the synopsis that didn’t seem quite so painful and intimidating and, in the end, left me with something I was pleased to show my editor.

I’m not allowed to really talk about my new project,* so I’m going to use examples from the synopsis I wrote for CINDER way back when.

Step 0: Write the book!

If the book isn’t written yet, I feel like you’re writing an outline, not a synopsis, and I’ve talked about outline writing at length in previous blog posts. For the purpose of this synopsis-specific guide, let’s assume you have the book drafted out, or even completed.

Step 1: Skim through the manuscript, noting the important events of each chapter.

Try to boil every chapter down to just one or two sentences. What is the point of this chapter? What is the most important thing that happens?

Some chapters will be significantly longer than a sentence or two, particularly the opening chapters (as they tend to introduce a lot of information about the world and the main characters) and the climax (which could revolve around lots of complicated reveals and twists).

And yes, include the ending! From who wins the final battle to whether or not the protagonist hooks up with the love interest in the end. One of the main purposes of a synopsis is to show the full arcs of your plot and subplots, so don’t leave out those all-important resolutions.

Step 2. Embellish the beginning.

Just because you can’t use pages and pages to set up the world and protagonist’s character in the synopsis doesn’t mean you shouldn’t give the reader a little bit of foundation to stand on. The first paragraph of the synopsis should give the same basic information you convey through the book’s first chapter: where and when does this story take place, who is the protagonist, and what problem are they facing right off the bat?

xample: LINH CINDER is a cyborg, considered little more than a technological mistake by most of the society and a burden by her stepmother, ADRI. But her brain-machine interface has given her a unique skill with mechanics, making her, at sixteen, the best mechanic in New Beijing.

Step 3: String your short chapter summaries together, using standard synopsis formatting.

Here, it will begin to look like a story, but an incredibly sparse and drab one. Don’t worry about that. Just focus on getting all the technical formatting stuff figured out, so you don’t have to re-write it all at the end.

Standard Synopsis Formatting

– Written in third person, present tense, regardless of what POV or tense the book is written in.

– The first mention of each character’s name is put in all-caps (so that they can be easily spotted).

Example: When she arrives home, she discovers her two stepsisters—arrogant PEARL and vivacious PEONY—being fitted in ball gowns.

Step 4: Read through, with a focus on plot.

Distilling each chapter down into just a sentence or two can lead to lots of apparent plot holes and lost information. Read through what you’ve written and check that every event in the story naturally leads into the next. Imagine beginning each sentence with a Because / Then structure, and insert further explanation or character motivations as necessary.

Example: Cinder is worried that if she doesn’t fix the hover, Adri will sell off IKO to pay for the repairs herself. That night, Cinder goes to the junkyard to find replacement parts…

(Could be read as: Because Cinder is worried . . . then she goes to the junkyard…)

Step 5. Read through, with a focus on character arc.

Now that the plot makes sense from beginning to end check that you’re adequately showing how your protagonist evolves as a result of the events in the story. Do readers get a sense of who they are at the beginning and how they’ve changed by the end? Look for those Big Moments in the story that change your protagonist’s attitudes and goals. Indicate how those moments effect the protagonist emotionally, and show how their goals and motivations change as a result.

 

Example: Without Iko and Peony keeping her tied to Adri, Cinder vows to fix up the abandoned car she saw in the junkyard and run away.

 

Step 6. Trim and edit.

Now that you have all the necessary information read through a few more times and trim it up as much as you can. Be ruthless when it comes to removing excess words and phrases that don’t help you tell the story. Choose your descriptive words carefully, ensuring that you’re using words that carry a lot of weight. My book synopses for CINDER and New Secret Project both came in around the 1,500-2,000 word range, and that’s not a lot of room to work with! So edit, edit, edit.