The imaginary country in which Princess Adele lived in was called Valdoria. I came up with that name watching “Dancing with The Stars.” There is a professional dancer (very cute) who just happens to have the name of Val. He and his partner were dancing when Valdoria popped into my head. So that is where I came up with the name.
As you see from the title I’m writing five interesting things about my book, “Princess Adele’s Dragon.” What creates interest for one may not for the next one, but I will do the best I can.
1. My book is a Young Adult Fantasy eBook based in Medieval times when Dragons, Knights, Witches and Christianity and war were prevalent. I enjoyed doing the research about this time period. I created a blog earlier on the History of Dragons. You know those big scaly things that legends are made of. The big, green dragon in my book has been given the name, Draiocht (DREE-oct). This name means Magic, enchantment, from lore and arts of the Druids of pre-Christian Ireland and Celtic society. This character will surprise you.
2. The second fact is I have two protagonists and two antagonists. Princess Adele and Prince Anthony are the protagonists and Lord Ashmore, and Mickael are the Protagonist. I didn’t plan the story that way, but my muse decided it needed to play out with the four interacting in their particular roles.
3. Christianity has a small role in my story. During the medieval period the church began the change from the Druid way to one of Christianity. I got the name of one of the primary countries mentioned in my book.. It must have been a very intense and interesting time.
4. I’ve always heard you write what you like to read, and I guess it was true for me. The book was fun to write, and I like to read fantasy. do anything with your imagination. This book has everything from mild violence to love. To read it, follow the link. http://amzn.to/25lUOYM It is free for the reader who is a member of Amazon Direct.
5. It’s easy reading, even with Draiocht having his secrets.
I mentioned I had written a blog earlier about the history of dragons. If you would like to check that out it is at this link. http://bit.ly/1V1F0HM
As I close, I want to thank you readers who stopped by to visit. You are what makes this blog fun for me. Have a blessed day.
I wrote and published Dobyns Chronicles a few years ago but it is always nice to receive good reviews. I thought today I would share one of those reviews for me. Nothing like feeling good about work you did when it is expressed by someone else in comparison to those reviews that always seem to break your heart a little bit.
I hope everyone had a safe and happy Thanksgiving and now Christmas season is upon us. All of you who celebrate the birth of our Savior, have a blessed Christmas.
The Finest Generation – A review of the novel ‘Dobyns Chronicles’
“It is so much simpler to bury reality than it is to dispose of dreams” – Don DeLillo
Author Shirley McLain’s latest novel ‘Dobyns Chronicles’ is a historical fiction loosely based on the life and times of her grandfather Charles Kenly Dobyns. Charles or Charley to those close to him was the eldest son of Kennerly, an American cowboy and Eliza, a Cherokee Indian and was raised in a farm in Red River in Bonham near Northeast Texas. The book chronicles his life story from the late 1800s when he was a young boy in a Texan farm to the mid-1950s when he became a great grandfather in McAlester, Oklahoma. The book paints a moving real-life story about a young man’s resolve dealing with the various tragedies life threw at him while also caring for his two siblings, younger brother David and sister Viola. This novel presents a fascinating look at vintage Americana and will fill your mind with nostalgia about a simpler life led in much simpler times.
Right off the bat, the first thing that you are going to notice and that too barely a couple of pages into the book is the wonderful use of the English language. It has become almost a rarity in mainstream literature to come across such beautiful phrases and prose that make you stop and read a line twice just for the sheer literary pleasure it gives you. The next best thing about this book is the pitch-perfect way in which the author has been able to portray the laid back and lazy times with the back-breaking, difficult and adventure-filled day in an old western town. It is so descriptive that the character’s spirituality, the numerous odd jobs done around the house, cattle drive and horse breaking somehow become second nature to you by the time you are done with the book. And for people of this century where everything is available to them at the touch of a button, this book will be a throwback to our older and harsher times when day to day living meant a constant battle with the various elements of nature.
Blending the fiction seamlessly with the many historical and factual events of the late 18th century and early 19th century, Shirley has made good use of various events like the yellow fever epidemic, the great depression and the absurd tax laws to good effect and has used them strategically at various points in the novel to underline the emotions of her characters in that setting beautifully. The changes happening over time and the various developments too have been captured nicely; case in point is Charley staying at a hotel for the very first time. Shirley also seems to have a knack in getting children’s behavior and their conversations right, the change in tone and content when the conversation moves from a child to an adult is always bang on target.
The entire book will tug at your heartstrings and make you think about your own family, it will also make you reminisce about your childhood as you read about the childhood of the Dobyn kids. And even though your childhood may have been vastly different from theirs, you will still feel a connection to the various commonalities that affect us humans across time and different nationalities. The epilogue and the photographs at the end really get to you and even though a life that you have been witness to from a young age has come to an end, you are in a strange way left with so many memories of this man. And this is because of the way the author has captured these scenes and emotions, by taking you right into the lives and homes of these people instead of merely narrating a story.
Great authors have often talked about the secrets that make a book appeal to audiences everywhere. They stress upon having a standout first chapter to make the readers commit to the book, a good first page that will blow them away and a great first line that will stay etched in their memory forever. If they are right then Shirley’s book has scored a definite ace on all three fronts and has emerged a clear winner.
Hello everyone, I thought today I would share an article on creating fantasy characters. I love reading and writing fantasy. It literally will let my mind go to this creation of fantastic times, people, and creatures.
I’ve written one fantasy book, Princess Adele’s Dragon, which is a medieval adventure story, but I couldn’t count how many books I’ve read in the fantasy category. I love to read those three to five book series that continue to lead you down those wild and wonderful paths. I have to admit I have read all of Harry Potter and the Outlander series which are far more than three to five books.
You have thought of a subject for a new fantasy book. The first thing you have to do is ask yourself if your protagonist is better suited to a series or a stand-alone novel. In Princess Adele’s Dragon, I have two protagonists, Princess Adele, and Prince Anthony. This book could very easily be made into a series because of the storyline I used. The main conflict is resolved but other conflicts have been brought up that can be carried forward.
Secondly, figure out what kind of story arc you want for your series. Do you want to focus on one problem or mystery per book, along with overarching character development? which means that the characters have more to tell. When you are writing book one you really don’t know how many books will be in the series.
Third, Carry character traits and quirks consistently from book to book. This is true of both your protagonist as well as the support characters in the story. If you can keep all your character details in your head, that is wonderful, but if you can’t make a cheat sheet. Your readers will catch the mistakes you make.
Fourthly, write characters and books that you enjoy. Just as readers love characters they can get to know and see, again and again, so do authors. My favorite books have characters that I can either identify with or would like to have a drink with. All accept Hairy Potter, of course, he is too young. I just want him to teach me magic. Write about what you like to read.
If you would like a free ebook of Princess Adele’s Dragon, just let me know along with your email and I will send you a gift code from Amazon. http://amzn.to/25lUOYM
I hope you have a great week ahead. Blessings to all. Shirley
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-old 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.
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.
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
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.
Since 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
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.
It’s done and finally gone live on Amazon. My new ebook Princess Adele’s Dragon. It has taken me a little over a year to get it completed. If you like fantasy and Gothic times you will like this book.
Princess Adele sets out to save her and her brothers Kingdom from a beast that threatens their way of life. What she encounters is totally unexpected and sets her on a new path. If you like gothic times with Kings, Princess’s, Castles and bad guys then you will like this young adult fantasy. You will fall in love, hate the bad guy and fight a war.
There is a read inside option on Amazon. Click on this link and it will take you right to it.
http://amzn.to/25lUOYM If your Kindle Unlimited you may read it for free. Be sure and leave a review even if you didn’t like it, but I know you will 🙂
Have a totally blessed day and let me know what you think.
I am in the final stages before I launch my new ebook on Amazon. It is a Young Adult Fantasy called Princess Adele’s Dragon. Based in Medieval times with Kings, Knights, Castles, Witches and a myriad of other things to make this a fun and intriguing book.
I’ve worked on this book since March of 2015. It’s hard to believe next month will be a year. Most hours of my day were spent thinking about some aspect of my book. How was Adele going to deal with the day, Prince Anthony or even the bad guys?
Book writing is fun for me. I like getting wrapped up in the stories. I do the same when I’m reading a book if I like it. Since I’m an eclectic reader and writer, I never know what world I’m going to be spending my time.
I’m learning new things every day which is a wonderful thing for me. It keeps my mind active. If I didn’t keep my mind active, I would be useless to myself. My learning has added to my guilt when I write. I see the passive voice in my sleep or that voice that says you can write that line better. So many rules but at the same time, nothing is written in stone. A lot of standards change with the wind or who’s writing.
When you write, the bottom line is “does it fit you, the author?” Everyone has an opinion and most of the time they are different. That in itself can be confusing, but if you hang on and keep trudging forward you will end up with work that is yours alone. Notwithstanding the help, you received from reading, researching a topic or any other avenue you use.
I must be needing to share my introspection today on the almost completion of my book. It’s a fantastic feeling knowing I only have a few little things left to do before my work can be published. The beautiful thing is that it has nothing to do with selling. It has to do with completing the task I set out to do, the best way I know how.
Pacing is a crucial component of fiction writing. After all, it’s important to keep your readers “hooked” throughout your story. Whether you are just getting started in writing or looking to break into fiction writing, you’ll need to know the basics of how to pace a novel. Read today’s tip of the day from Crafting Novels & Short Stories. In this excerpt written by Jessica Page Morrell, she explains what pacing is and seven ways to keep your story moving at the right pace.
What is Pacing in Fiction?
Pacing is a tool that controls the speed and rhythm at which a story is told, and the readers are pulled through the events. It refers to how fast or slow events in a piece unfold and how much time elapses in a scene or story. Pacing can also be used to show characters aging and the effects of time on story events.
Pacing differs with the specific needs of a story. A far-reaching epic will often be told at a leisurely pace though it will speed up from time to time during the most intense events. A short story or adventure novel might quickly jump into action and deliver drama.
Pacing is part structural choices and part word choices and uses a variety of devices to control how fast the story unfolds. When driving a manual transmission car, you choose the most effective gear needed for driving uphill, maneuvering city streets, or cruising down a freeway. Similarly, when pacing your story, you need to choose the devices that move each scene along at the right speed.
Seven Literary Devices for Pacing Your Story
You need speed in the opening, middle, and climax of your story. Sure, you’ll slowdown from time to time, especially to pause for significance and to express characters’ emotions, but those times will usually appear just before or after a joyride of skin-tightening speed.
There are lots of tools to hasten your story. Some are better suited for micropacing—that is, line by line—and some are better suited for macropacing—pacing the story as a whole. Let’s take a closer look at each device.
ACTION. Action scenes are where you “show” what happens in a story, and, when written in short- and medium-length sentences, they move the story along. Action scenes contain few distractions, little description, and limited transitions. Omit or limit character thoughts, especially in the midst of danger or crisis, since during a crisis people focus solely on survival. To create poignancy, forgo long, descriptive passages and choose a few details that serve as emotionally charged props instead.
CLIFF HANGERS. When the outcome of a scene or chapter is left hanging, the pace naturally picks up because the reader will turn the page to find out what happens next. Readers both love and hate uncertainty, and your job is to deliver plenty of unfinished actions, unfilled needs, and interruptions. Remember, cliffhangers don’t necessarily mean that you’re literally dangling your character from a rooftop as the scene ends. If your characters are in the midst of a conversation, end the scene with a revelation, threat, or challenge.
DIALOGUE. Rapid-fire dialogue with little or no extraneous information is swift and captivating, and will invigorate any scene. The best dialogue for velocity is pared down, an abbreviated copy of a real-life conversation that snaps and crackles with tension. It is more like the volleying of Ping-Pong or tennis than a long-winded discussion. Reactions, descriptions, and attributions are minimal. Don’t create dialogue exchanges where your characters discuss or ponder. Instead, allow them to argue, confront, or engage in a power struggle.
PROLONGED OUTCOMES. Suspense and, by extension, forward movement are created when you prolong outcomes. While it may seem that prolonging an event would slow down a story, this technique actually increases the speed, because the reader wants to know if your character is rescued from the mountainside, if the vaccine will arrive before the outbreak decimates the village, or if the detective will solve the case before the killer strikes again.
SCENE CUTS. Also called a jump cut, a scene cut moves the story to a new location and assumes the reader can follow without an explanation of the location change. The purpose is to accelerate the story, and the characters in the new scene don’t necessarily need to be the characters in the previous scene.
A SERIES OF INCIDENTS IN RAPID SUCCESSION. Another means of speeding up your story is to create events that happen immediately one after another. Such events are presented with minimal or no transitions, leaping via scene cuts from scene to scene and place to place.
SHORT CHAPTERS AND SCENES. Short segments are easily digested and end quickly. Since they portray a complete action, the reader passes through them quickly, as opposed to being bogged down by complex actions and descriptions.
SUMMARY. Instead of a play-by-play approach, tell readers what has already happened. Because scenes are immediate and sensory, they require many words to depict. Summary is a way of trimming your word count and reserving scenes for the major events. You can also summarize whole eras, descriptions, and backstory. Summaries work well when time passes, but there is little to report, when an action is repeated or when a significant amount of time has passed.
WORD CHOICE AND SENTENCE STRUCTURE. The language itself is the subtlest means of pacing. Think concrete words (like Prodigy and iceberg), active voice (with potent verbs like zigzag and plunder), and sensory information that’s artfully embedded. If you write long, involved paragraphs, try breaking them up.
Fragments, spare sentences, and short paragraphs quicken the pace. Crisp, punchy verbs, especially those with onomatopoeia (crash, lunge, sweep, scatter, ram, scavenge) also add to a quick pace. Invest in suggestive verbs to enliven descriptions, build action scenes and milk suspense.
Harsh consonant sounds such as those in words like claws, crash, kill, quake, and nag can push the reader ahead. Words with unpleasant associations can also ratchet up the speed: hiss, grunt, slither, smarmy, venomous, slaver, and wince. Energetic, active language is especially appropriate for building action scenes and suspense, and for setting up drama and conflict.
A fast pace means trimming every sentence of unnecessary words. Eliminate prepositional phrases where you don’t need them: For example, “the walls of the cathedral” can be written as “the cathedral’s walls.” Finally, search your story for passive linking verbs and trade them in for active ones.