Home of Ane Ryan Walker, Teller of Tall Tales, Writer of Short Stories

Tag: writers (Page 1 of 5)

What writers do

Writer’s write. This is what I’ve been told since the first day I declared my intention to tell the stories inside me.

It sounded so simple. You have a story, and you should tell it. Just sit down and write. Simple and straight forward. If only it were that easy. But it’s not. Whether you write for a living or simply to still the small voices inside you which compel you share the story you know, it is never easy.

The worst part, always, is knowing where to start. Most of us don’t know where the story begins with any more certainty than you do where every story begins. That being said, let me assure you every story is unique. There is no right or wrong answer about where to start.

Regardless of the advice you read, and the opinions are numerous, where the story begins is a matter of choice and style. You will learn how to choose what works for you as a writer, and style develops over time. I’ve heard it said you need to write a million words before you find your voice.

No matter what type of fiction you choose, writing a salable compelling novel is difficult. The fiction market is  highly competitive, and to succeed in the marketplace, even if you choose self publishing, you will need to know the fundamentals of good writing.

What you need to demonstrate is a good hook to engage your reader and compelling plot points to keep them engaged in the story. Then you will need to write sharp and tight to keep your story appealing to the audience.

Developing the opening hook is as simple as writing a sentence and as difficult as summing up the entire premise of the story in a few short words. Great opening lines create a question in the readers mind that needs to be answered. That need is what keeps them reading. The need to find out how the characters arrived at this moment and what happened to them. But more importantly what will happen next?

Hooks are also used to close scenes and chapters. These scene and chapter endings being the opportunities for a reader to take a break and put your book down. If you don’t want that to happen, then ensure that you’ve posed and important question as to what happens next?

Don’t worry about spending too much time on that opening, because for the most part, other than writing, most writers re-write. And it is not only likely, but highly probable, that re-writing is in your future.  If you don’t master the opening on the first pass (And I bet you won’t) you will have plenty of opportunities to re-write then opening into a fine tuned and lethal hook. Because the thing most writers spend their time on is re-writing and editing.

Writing from the heart

“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”

― Antoine de Saint-Exupery

This advice comes under the admonition of “write what you know”. Some of the best and worst advice aspiring writers ever receive.

When you are told to “write what you know” it is always difficult to discern what exactly that means.

Perhaps you need to engage the reader with more emphasis on relating your personal experience with emotional issues. Sadness, joy, anger, revulsion. Any of these emotions are felt in the core and should be transferable to the page.

For Example: anger,

Jolie’s shoulders tensed, apprehension ripping through her. Her clenched hands dropped to her sides, the fists so tight her nails in the palms almost drew blood. Why didn’t people listen to her?

Can you see it in your mind’s eye how angry she is? Have you ever been there? Standing in front of someone you disagree with, and who is not listening to your input, and your anger takes on this physical aspect?

Or how about revulsion, ending in physical pain

Her fingers, twisted and arthritic, removed the cloth from the box. Mesmerized, the memory fleeting beyond her grasp, she pulled the drawer open at the base of the cabinet and memory flooded her like a landslide.

She groaned.

The horrific cold of a thousand dead hands assaulted her, astounding her, stealing her breath. For a moment, she thought she simply forgot to breathe. Then the pain exploded in her chest. A hundred blades of precision surgical steel knifing into her heart and radiating out to her shoulder and jaw. She struggled to take in air. Clutching, reaching for her son, she toppled the tea-table.

I’ll bet you have. I’m going to go out on a limb and bet you know exactly what the author means, when they write she was angry. That’s telling, and when the author shows you the characters physical reaction to something that happens “on stage” in the story, that’s writing what you know.

Translating your emotion into words on the page, sadness, desire, longing, and any other emotions we are all privy to, is the essence of writing what you know.

Where does your story start?

There’s the sixty-four thousand dollar question.

I know many authors in various stages of their careers, and not a single one willing to say, “I know exactly where my story begins.”

Once in a rare while we know where to start the story, but not often, and certainly, not always.

As writers we have so many things to agonize over, such as “who does the story belong to?”, and “who will be the primary character?”

We need to decide so many things when we start a new story that we often overlook the obvious when we decide who will tell the story. For Romance writers, we know the story must be told by both sides, the “he said, she said” that keeps romance readers coming back. They love (no pun intended) a gripping story and so of course, they want to know why she behaved that way, and what he thought about it, and why he put the time and energy into winning her back. Did she make it worth his time?

If you have an audience that comes back again and again, you know you’re probably telling the story correctly. But how much do you agonize over the very beginning of the story? How do you decide when you’re just starting out who the story belongs to and how it should be told.

A general rule of thumb is when things change, the story begins. Always a good place to start. Change brings conflict. Conflict and its resolution or lack thereof, is often what keeps readers reading. But, unless we can identify and sympathize with the primary character, then you, as the reader are not likely to buy in for the long haul. And believe me, 400 pages is the long haul.

You must create and open with a character we love, or at least can identify with for the duration of the story. This simple direction is indeed a tall order.
How do I make you love my character? Or at the very least, how do I get you to accept him for who he is, like you but not like you, and still make him interesting.

In a word, backstory.

All of the things I, as the writer know, about the character, who he or she is, how they came to be in the moment fraught with conflict and change, and I must make you care about him and want to know why that happened.

You can love him or hate him, but he must arouse your curiosity, make you ask why? and also wonder, what happened next?

If you fail to incite this interest, you haven’t found the the right character, or the true beginning of your story.

How does that sound?

More on naming your characters.

The sound of a name says it all. For the strong, alpha, bad boy, totally masculine character you will probably want a name that sounds sharp, short and strong. Names that garner attention.

Bad boys, particularly villains, who deserve as much attention as heroes, have specific name needs.No villain should be Snidely Whiplash. Too routine, too ordinary, too boring. In fact, you might say “cookie cutter”.

The real bad boys in fiction, whether leading men, alpha heroes, or second fiddles have sharp, snappy, memorable names. Especially the anti-hero. Names that sound sharp, snappy or have sizzle built-in.

Count Dracula, the primary bad boy of fiction has a sharp sounding name. Count–with the k sound for an opener–followed by Dracula–another definitely sharp sound. The D defines and the k is repeated in Drac, brings in another sharp k. Hard edges are defined by the name. You know instinctively this guys going to be a problem.

Sometimes the sound is suspicious. Le Stat, another vampire of literary fame. The s sound is slithery, and sneaking. This character is not at all what he seems. Tah Dah! He is conflicted. Suspicious. This character is unpredictable, no one can say exactly what will happen with him next.

Long after the story ends, writers are remembered for their compelling characters. Often the properly named character is remembered once story specific are long forgotten. So make sure you ask yourself, “what’s in his name?” before you name the character.

This is one place where the use of subtext is not acceptable and encouraged.

 

About Writer’s Block

  “You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas.”

― Shirley Chisholm

Writers write. Ask any writer. If they could stop writing, they probably would stop writing. For the rest of us, we write to still the voices in our heads. We write to get our stories out into the world.We write, publish, and repeat the process. Endlessly.

If you ask me about that thing known as “writers block”, I’ll tell you it doesn’t exist. I can pretty much prove it. No other profession allows its practitioners to claim that no work can be accomplished today, tomorrow, this week, next week, or anytime in the near future, because they are suffering from a “block”.

Plumbers block? No. Dentist Block? No. Nurses Block? No. Accounting Block? No.

Trust me, if you are a writer and you’re not writing it’s because you choose not to write.

But wait, you say. I really do have writers block. What can I do? The answer is simple. It’s a choice you make, either a form of procrastination to avoid criticism, rejection, or some other form of negativity. So, you ask, how can I fix that? Start writing. Yes, that’s right. Make a plan and stick with it. Just start writing.

Writing when you have fear is difficult. Fears need to be faced in order for you to overcome them. So of course, the answer is simple. Start  writing.

Having difficulty with your story? Keep writing. Many writers know, you can not fix a blank page, so fill the page, then worry about fixing it later. Nobody–or let me say rarely–does anyone love a first draft. Usually it takes a lot of work, self editing, story restructuring, critiquing, and professional editing to get a story into decent shape.

Did I mention the upside of continuing to write in the face of adversity (i.e, laziness, fear, procrastination, martyrdom, or anything else that prevents you from writing)is you will find your true voice and your writing will improve if you just keep writing.

Write What You Know

  “Both desire and imagination are stored in the mind of the individual and when stretched, both have the potential to position a person for greatness.”

― Eric Thomas

Storytellers who write what they know…what they have experienced, what they have observed in others, what they have lived through, and what they deal with on an ongoing basis are the people who write what they know.

You can tell as soon as you start reading, you’re engaged in the story. This person is someone who writes from their soul. Their grammar and punctuation need not be perfect, but still,  you get them. More importantly, they get you.

When, as writers we reach down to the core of who we truly are, we find the truth of our existence. What we call our core story. No matter how many ways we find to tell our story, successful writers never search for a theme. They know their core story and they are successful because they tell it over and over again.

So, how do we recognize our core story? We know it, instinctively from our formative years. Think about it. When you first became interested in story. As children, we all had our favorites. Stories, that is. We had one thing we couldn’t get enough of, a book or story or a type of story we would read over and over again and again.

For many mystery writers it was Nancy Drew, or the Hardy Boys. For me, it was Cherry Ames, Student Nurse. For writers who pursue adventure stories it was usually something like, Robin Hood. Our taste in reading is often a hint to our preference in writing–the type of story that we know and love to tell, over and over again.

Secondary Characters

How important are secondary characters?

Very Important. Think for just a minute how you might see The Harry Potter series without Neville Longbottom. Or perhaps Pride and Prejudiced with Jane Bennett.

Not so interesting, huh?

Important to remember the names for secondary characters. They should not be similar to the hero or the heroines name. The first names of these character should never start with the same letters. Names that sound similar or start with the same letter can be confusing to your reader. You don’t want the reader to confuse Crissy the servant with Sissy the villain. That would not be good. Remember, sound alike–Katy, Kathy, Cody–can confuse as well.

Where some writers will provide a full interview to get to know their primary characters, it isn’t always necessary for secondary characters. Does that mean they are less important? Less well-developed? No.

While they may not require the same depth of development, secondary charterers require the same amount of attention to the in development. Supporting characters who are well-developed are those who provide the proper support for your hero and heroine. Their development provides depth for the story and layers of interest to your novel.

Secondary characters provide a unique perspective through which the main characters can be viewed. What they see, hear,  and think about your hero or heroine and the behavior gives additional insight to the main character.

Characters, like people, are often judged by the company they keep. If you wish to define a characters moral core, the companions they choose are a good gauge of moral compass.

Sometimes the secondary character allows us as readers to compare and contrast the desirable qualities between heroes and secondary characters.

Secondary characters can contribute to a story by the use of valuable dialogue. They will know–and so will your editor–which questions should be asked and which subjects the hero wishes to avoid, but shouldn’t. They hep to increase the conflict by introducing the taboo subject, and sometimes outrageous behavior.

Secondary characters are not held to the same high standards which we impose on our heroes. They do not benefit when they advance to primary status in follow-up stories. And be assured, romance readers love to see the secondary characters follow-up with their own story.

 

 

How About Characters who are Villains?

We spend a lot of time writing and rewriting the hero.  After all, everyone expects him to be perfect. Especially if you’re writing Romance.

Romance readers are a finicky group. They’ve earned the right to be by their support of the fiction market. Many genres include romance, i.e, romantic suspense, historical romance, paranormal romance, contemporary romance…you get the drift. The largest percentage of the fiction market is some type of romance.

But, regardless of what specific genre you write, you sooner or later have to write a villain to oppose your hero.Remember our discussion about conflict?..how it powers your story?… how it makes every story more interesting? Well, the well written villain is the way to go.

Villains are the heroes of their own stories.Their behavior–same as the hero–defines who they are for your story purposes. Your villain will be ruthless, calculating,merciless, and a natural leader. If he’s not a natural leader, who will follow him? So maybe he’s charismatic, too.

There are different shades of evil,the same way there are different types of heroes. His motives, match his traits, and are reflected in his actions. You must show your reader who he is. In order to depict a villain who is not merely melodramatic, you will be required to explore his nature and therefore the evil of his nature and the evils’ origin. We are, after all not born good or bad, but develop into who we are by our life experience.

Be even more careful with the villains backstory. There is no need to dump it onto the page, or into your story. Save it for the perfect moment, the revelation of who the villains truly is and why he wants what he’s striving 300+ pages to accomplish.

The evil nature of a villain has many components. Greed, corruption, domination, deviancy, these traits represent the shadow side of human nature. In other words, these traits are the things we would like to be–just once, or possibly on occasion, in our everyday lives. Tell the truth, sometimes don’t you desire revenge rather than justice? Especially when the hurt is fresh, or when we are angry with others. The wicked character, our villains, act on the desires we deny.

What’s in a Name?

New parents spend time and energy choosing the perfect name for tier offspring. Some writers spend a few hours choosing a character name, and rightfully so. This is a declension which can mean the difference between success and failure for your character, or maybe even your book.

You can choose a name that molds the characters personality, or reflects it, or based on physical traits. Old fashioned names in the modern age can and often do, reflect core strength, and character.  A name can instantly identify a characters ethnicity.

But every name has a meaning.

Consult the baby name books, online resources and even period reflective naming resources, if you happen to write historical or period set fiction. Using a name by its meaning to build your characters personality is an option, or naming him or her in contradiction to strengths is also an opportunity for additional conflict. Nicknames can also tell us quite a bit about a character, his background and his or her intentions.

I’ll cite the perfect contradiction, courtesy of Joss Whedon, the master of character development–a demon named Angel. ‘Nuf said. Conflict on a stick and arm candy to boot.

If you have the wicked twist of mind shared by some writers, you can even give a character the same name as a high-profile public figure, and let them endlessly try to explain, distance, or differentiate themselves. We all believe we’re individuals, right?

But when you sit down to create character, you can have fun with the name. Always remembers who is in charge. You create them and they are what your story needs. They are who you need them to be, in order to keep your readers engaged, and also dependent on what the plot you create requires.

Not only must you decide who they are, you must show us how they behave in terms of story. If you want us to believe your character is a workaholic, who consistently breaks promises to family and friends by choosing his his career over family commitments, then show us how he blows off those commitments, staying to work late when he should be home with his wife, tucking his baby into bed.

There are numerous volumes which will give you a step up in terms of starting to develop your characters. Remember every good trait has a downside, just like every blessing can also be a curse. Using an established method to define character is easily achieved by looking up Linda Goodman’s  Astrological signs, which will tell you the superficial positive traits and the negative traits, as well. It is a good place to start but you must always build your own unique characters.

Don’t use all the information right up front. Remember the 80-20 rule. You do not need to see the entire iceberg to know there’s trouble ahead. Naming a character can give a hint to potential backstory, and sometimes even make it more interesting.

How do I make that hero shine?

Interviewing the hero is a good start, if that works for you. If not, I’m going to give you some guidelines about what a hero should–and shouldn’t be, and how he might act.

Remember, writing doesn’t have a lot of “rules” per se, but if you want your hero to be likable, you will at least consider the following things:

  1. Heroes are strong people, not only physically, but emotionally. They don’t hold other people to blame for every misfortune in their lives, but they do hold the people in their lives accountable. So if your heroine makes a promise or a commitment to the hero, he expects the promise to be kept.
  2. Heroes have an excellent sense of humor. They do not make jokes in poor taste or at the expense of the weaker characters, but they often exercise a dry wit, and they know how and when to be able to laugh at themselves.
  3. During social encounters heroes are aware of their surroundings, and are not likely to be the center of attention, but are aware of the tensions in the room or situation. They are often the person who will diffuse a tense situation or control activities which have the potential to get “out of hand”.
  4. They do not wear flashy clothes or make odd or awkward fashion statements, but have a classic, quiet,  dignity which is always in style.
  5. While the hero is often aware of what others think of him, his actions, his choices, the opinion of others has no effect on the hero’s behavior.
  6. True heroes know the art of romance. They always treat women like ladies, regardless of age or station in life. This behavior towards women is what starts the ordinary man down the path to true hero.
  7. Heroes don’t typically seek out others to help them. They like to resolve their difficulties alone, but are strong and secure enough to ask for help when they need it.
  8. Heroes know how to say no. The have mastered the art of saying no rather than the art of apology. No means no.
  9. Heroes know what they want and are focused on getting what they want. They pursue their desires by doing what is necessary to achieve their goals.
  10. Heroes are decisive, not reactive. No knee jerk reactions. No panic. Again, heroes know what they want and focus on making their desires their reality.
  11. Heroes command respect. Others follow the hero because his is to be admired, not feared. He earns the respect of others by demonstrating the qualities of a true hero. Not by instilling fear into the weaker of the species.
  12. Heroes are problem solvers. The others in their social circle, friends and family know they can count on the hero in their time of need. Heroes are reliable.
  13. Heroes exhibit a calm and serene dignity. The trick to this is not to react, but rather to collect all the available information before making a decision, whether it is personal or advice to a friend or loved one. A calm and serene demeanor is the face a true hero shows the world.
  14. Heroes do not hesitate when a decision is needed. They assess the situation, and make a decision based on the need at that moment in time. They do not hesitate. They are not afraid of failure.
  15. Heroes command the attention of everyone when they enter a room. The exhibit excellent posture, make eye contact, give a firm handshake when introduced to others and always exhibit confidence. Their body language–confident, competent–tells everyone who they are as soon as they arrive in a room.
  16. Heroes know the secret of good communication. They speak less and listen more.
  17. Heroes assume the leaders role rather than wait for others to offer it to him. He is not a jerk, and is not aggressive, but he will stand up for what is right. Every time.
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