Delia Latham: What a Character!

Tessa led me to the one desk we had not yet visited. She paused, using a broad flourish to indicate a pig-tailed young woman garbed in black leather with matching hair and nail polish. My new boss's expectant expression bespoke her eagerness to make this introduction. “This…is Maggie!”

The girl’s angular face lit up, her smile engaging despite her black lipstick. She ignored my outstretched hand, jumping up to wrap me in a tight hug instead.

“Welcome to Cell Block C!” Maggie’s boisterous voice floated six inches over my shorter height. She released me and pointed a long finger in my face. “That’s C for Crazy,” she announced. “Gotta be a little loony to survive in here.” Beautiful blue eyes—the only pale color on her person, and therefore startling in their contrast—raked over my conservative suit and matching pumps. “Don’t worry, sweetie. I’ll help you.”

Laughing, Tessa drew me away. “That girl is a character!”

To say the least. And me being me, I couldn’t wait to get back to my own desk—or, more precisely, my notebook—so I could jot down a few words about Maggie. I’ve been writing long enough to know that stand-out characters are the spice of life in any good story.

Surely every writer has such a notebook. If not, how do they survive without it?

I have a collection of them, all packed with comments about interesting folks I’ve met. Their pages are dog-eared, because I use these little tools every time I set out to create a memorable character.

Maggie went under the “Quirky” heading. She’s one of those never-to-be-forgotten, one-of-a-kind individuals. But the world is made up of a plethora of varying personalities…as is a good book. Your character notebook can capture them for future reference.

Be careful not to get caught up in the odd or unusual and neglect the more mundane. Not every character in a storyline needs to be an oddball. Jot down a note or two about each person you meet, but don’t hesitate to profile those observed from a distance. If they snag your attention in some way, they’ll hook a reader, as well.

About the old fellow who hobbles along the streets of our small town leaning on his crooked cane, I wrote: Severe limp. Constant toothless smile. Clothing neat/clean, but worn. Battered felt hat. What’s his story?

A neighbor’s friend, who seems to be next door pretty much all the time, merited the following: Bad red wig. Amazing green eyes. Garish dress style, leftover hippie. Talks a lot.

Little snippets like these form an arsenal of character traits. Mix and match descriptions for a truly one-of-a-kind personality, or filter for something lower key.

Do you have a character notebook in your writer’s tool box? Developing this tool will add spice to your story. That’s a promise—from one character to another.

Delia Latham

(c) 2010

Paula Mowery: Are You Starting Well?

© Can Stock Photo Inc. / iqoncept

As an acquisitions editor, I read a lot of manuscript beginnings that don’t get off to a good start. I often push on through at least the first few chapters, but a reader isn’t required to read on. We authors want our readers to be captured and reeled in, not wanting to stop reading our work.

So, how can we start well? Let me offer a few suggestions to help us evaluate whether we’re off to a good start.

Does my story start in the middle of the action?

We’ve heard this taught and read it in writing craft books, but what does it mean? This means start with something exciting, something that will hook the reader. Often writers begin with a beautiful description of setting or pour on the historical background of the main character (backstory) to make sure the reader is up to speed.

Don’t make your reader wade through all of that background information. Jump into the story. Shock that reader! After you capture their attention then you can go back and fill them in a little at a time as the information is needed.

Is my story showing the reader what is happening?

Yes, the dreaded show versus tell is important in the beginning. Don’t cop out by using telling words like felt, thought, wondered, and remembered. Show me in detail how the character felt. For example:  Telling - She felt sad.  Showing – Her chest ached and tears slid down her cheeks and off her chin. Don’t tell the reader she felt sad. Make the reader feel the sadness. That will further hook your reader and make them stay for the rest of the show.

Am I following the rules of grammar?

Ugh. English class. You got that right. Check to make sure your writing is in proper sentence form as well as consistent in verb tense. This is another common problem. The normally acceptable verb tense to write in is past tense. This means that you write scurried instead of scurries. The only times that you include present tense verbs are in dialogue and internal monologue.

Is my POV consistent?

At the beginning of a story make sure you choose a main character or the main character to begin. Write only what that character can see and experience. This includes not having that character describe her own physical description. Do not switch point of view unless you indicate this by some kind of wingding like three stars (***) or something similar. Remember that the POV character can’t see herself turn red or blush. In her POV, blushing would be warmth crept to her cheeks.    

Should I start with a prologue?

Can I be honest here? Many of the prologues I have read are just backstory dumps. Presently, I don’t see editors really keeping a prologue.

Refer to the first suggestion – just jump into that story. You can trickle backstory in as needed later.

Also, I’ve seen a prologue completely give away a story. Don’t do that. Keep that reader guessing so she can’t put down that book until she reads: The End. 

These are just five simple elements a writer needs to guide her in making sure she gets off to a good start with her story. Before clicking that send button, really study your story’s beginning to make sure it captures your reader and reels her in, not letting her go.

PAULA MOWERY is a pastor's wife and a former homeschool Mom. She’s also a Christian writer. Her articles have appeared in Woman's World and in an ongoing column on http://christianonlinemagazine.com/. She also writes Christian fiction. Paula’s debut novella, THE BLESSING SEER came out July 6, 2012 from Pelican Book Group. The sequel, BE THE BLESSING, released Sept. 13, 2013. She is an author and acquisitions editor with Prism Book Group. My story, Forgiven, is in the anthology, Brave New Century which released Nov. 13, 2013. This book appeared on Amazon's Top 100 Bestsellers in Religious Historical Fiction.

Delia Latham: Broken-Record Writing

With the advent of cassette tapes and CDs, the term “broken record” is fast becoming obsolete - or, at the very least, one of those terms that later generations will continue to use with no idea what it really means, or how the phrase came to be. I’m hoping most people still know what it means.

Even if the experience is not personal, most of us have heard the result of a scratched record. The needle gets hung in the scratch, the record keeps spinning, and the result is an annoying repetition of the same words—over and over…and over again.

It happens in writing, as well. Sometimes our characters’ repetitious actions make a reader crazy.

My heroes chuckle a lot. They grin when I can’t think of anything else for them to do. They love to “quirk” or “hike” an eyebrow. My ladies’ lips “curve upward in a smile” way too often.

I recently read a rough draft chapter for an author whose characters overused their hands. Every few sentences, an action tag involved the word “hands.” She wrung her hands. He ran a hand through his hair. Their hands touched. He stuffed his hands into his pockets. She placed a hand over her mouth.

Talk about your broken record! A whole book of that would have me breaking the record over the hero’s head.

A friend admitted that she uses coffee as a tool for too much of the action in her story. He poured himself a cup of coffee. She wrapped her cold fingers around the hot mug. He sipped the hot brew. She tasted the lukewarm liquid and set her cup back on the table. He put on another pot of coffee. If I consumed as much caffeine as these characters, I’d never sleep!

No author wants a reputation for being a broken record writer. I certainly don’t. So how can we avoid overusing expressions and actions to the point that our readers want to throw our books against the nearest wall?

People communicate their internal feelings in many different ways. Non-verbal communication can be one of a writer’s strongest tools, if used with discretion. According to some studies, body language accounts for fifty-five percent of communication, so we definitely should use it to make our characters more real. Experts have found that certain actions usually indicate specific frames of mind, though some are interchangeable.

Is she lying? These actions might give the reader a hint: 

•      Avoiding eye contact by looking down or away
•      Using her hand to touch her face or head
•      Holding something in front of her body, like a barrier
•      Smiling insincerely (lips and mouth only, it won’t reach the eyes)
•      Shuffling her feet
•      Clenching her jaw
•      Licking her lips

Has something captured his attention? Non-verbal signs might include: 

•     Direct eye contact
•     A nod
•     Tilted (or cocked) head
•     Leaning forward
•     Dilated pupils

 Is your character bored? She will show it by: 

•     Turning her body slightly away
•     Looking around, but not directly at the person or object of boredom
•     Glancing at her watch
•     Tapping her fingers or toes
•     Shifting weight from one foot to the other
•     Yawning 

If she’s attracted to someone, she’ll do the following: 

•     Blink rapidly
•     Lean toward the person she’s attracted to
•     Mirror the other person’s actions
•     Adjust her clothing; smooth her hair; clean her  glasses (some form of unconscious preening)
•     Stare
•     Raise her eyebrows, even if only for a second or  two

Is he undecided? He’ll probably: 

•     Stroke his chin, rub his cheek or forehead
•     Scratch the back of his head or neck
•     Narrow his eyes
•     Purse his lips
•     Tilt his head
•     Wrinkle his nose 

Nervous people might: 

•     Blink rapidly (Aha! Some actions are duplicated  across multiple mindsets)
•     Clear their throats
•     Wring their hands
•     Fidget
•     Massage their temples
•     Adjust their collars
•     Cross their arms
•     Clench their jaws or show other signs of muscle tension 

Is your character angry? Describe it with: 

•     Clenched fists
•     Frowning
•     Baring teeth (snarling)
•     Narrowing eyes
•     Placing hands (or fists) on hips, feet spread 

Have a hero who wants to dominate? He will: 

•     Walk in brisk strides
•     Place his hands on his hips, and maybe spread  his feet
•     Raise his eyebrows
•     Clasp his hands behind his head
•     Narrow his eyes

A mountain of information is available on body language and its interpretations. If you’re in danger of too much repetition in your characters’ actions, a little Internet research could pay big dividends. Learn about body language and prevent your characters from becoming robotic and repetitive…your readers from going justifiably insane…and yourself from being a broken record writer.

Delia Latham

© 2010

DELIA LATHAM is a born-and-bred California gal, raised in a place called Weedpatch and currently living in the lovely mountain town of Tehachapi with her husband and a spoiled Pomeranian. She enjoys multiple roles as Christian wife, mother, grandmother, sister and friend, but especially loves being a princess daughter to the King of Kings. She has a "thing" for Dr. Pepper, and loves to hear from her readers. Contact her through her website or send an e-mail to delia@delialatham.net. Find her also at the following online locations:

Living the Write Life (blog)

Facebook

Twitter

Amazon Author Page

Therese Travis: Romance for Writers

Who doesn’t love a little romance in his or her life? Look at Valentine’s Day—all the chocolate and flowers and fancy cards with sweet verses inscribed inside. (Did I mention the chocolate? Because I’d hate to forget the chocolate!)

Romance writers have a special calling. They need to take the basic plot—boy meets girl, boy falls in love with girl, boy almost loses girl, boy wins girl—and make it new and fresh, and different from the thousands of other stories utilizing the same plot. How to do this? I mean, people have been falling in love forever, right? I’m assuming Adam was the only guy who didn’t have to wonder if Eve liked someone else better—no rivals for him.

Judging from the number of romance books sold, we do a great job. I admit, though, that I sometimes just can’t wrap my pen around the romance. I shudder at the thought that they just might not make it, that some small thing, easily overcome by someone with a clearer vision, will keep them apart forever.

How could I do that to my precious MCs (main characters)?

(I know, as writers, we’re supposed to. It’s still hard.)

But then I started to look at those “small things,” the things an outsider could see as wrong, but the characters can’t. And using those, I began to see my way.

It’s not the lie that will bring love to your characters, but the reveal: The lie is, in fact, really a lie.

Begin on a collision course. Your female MC’s development intersects with the male MC’s, and at the beginning of the story, there’s no way either of them can enter into a relationship with the other person. And yet, that person is theirs, ordained by God. You’ve got the whole manuscript to show your characters the truth of this.

Choosing the lie is the hard part. The fact that you’ve got to find one for each prominent character, and make them mesh, can make you want to toss your options into the wind and let the birds pick for you.

And don’t get me started on what these lies have to do with love. Love should always be honest, right? But if our MCs are lying to themselves, how can they be honest with each other?

Ooh, perfect tension.

I don’t need a man. Or a woman. I don’t deserve love. I don’t like you. You’re not my type. I have my career to worry about first. I have other obligations. No one will want me. There’s someone, or something, I love more. Lots of lovely lies. Lots of lovely ploys to keep your lovers apart.

Add in to this the faith angle, and you’ve got even more tension. None of us are perfect in our faith, and we’re all on our own journeys. We’re not going to match steps. And we have our standards. What if we put those standards, or lack thereof, before the will of God?

The middle of the story is what I sometimes call the muddle—everything can, and should, go wrong. The fight against the lie, loss of ground, proof that the lie is true, all these should come about.

And then—that step of faith—whether it’s faith in God, or self, or another person, leads to the first kiss. Just as it should.

In my latest release, A Fistful of God, a YA, Aidyn believes no normal boy could be interested in her. She needs to realize her worth, that it’s all right to reach out. Miguel believes he has to choose between protecting his mother and loving Aidyn.

Wishing you a happy, romantic Valentine’s Day (because who wouldn’t want it?) and don’t forget the chocolate!

A Fistful of God

She's never taken a drink, but she's recovering from alcoholism all the same.

After the death of her father, teenager Aidyn Pierce spends all her time cleaning up her mother's messes. So when Mom announces she's getting sober, Aidyn doesn't believe her. Mom has tried before, and Aidyn knows there will come a time—a day, a week, maybe even a month from now—when the cravings will be too much, and her mother will start drinking again. So, when Aidyn is encouraged to attend support meetings, she refuses. No point in wasting her time when her mother's going to drink again, anyway.

But what Aidyn doesn't count on is the healing power of love and friendship, and the incredible strength of God to walk both mother and daughter through the dark valley of addiction and recovery.

Therese's books on Amazon

Patti Shene: In It to Win It

 

A few emails have come through my inbox lately announcing the opening of writers’ contests. I’ve entered some over the years and served as a judge for several.

I want to share some “in it to win it” tips from the perspective of a contest judge. What do we look for? Why do scores vary so widely between judges? What lessons are there to be learned from entering a contest? Which contest should I enter?

What do judges look for?

I can’t speak for other judges and their methods, but I will share what I expect to find when I evaluate a contest entry.
First, I give the entry a rapid read. This is where I make comments within the body of the work on blatant errors, such as obvious incorrect grammar, spelling, or word usage.

Example: King Hawthorne rained over the land of Lavindale with an iron fist.

Unless you intend for King Hawthorne to possess the power of a god who can produce rain, the word you want is reigned.

Example: “I don’t suppose you would go with me.” She said.

There should be a comma after me, not a period.

While revealing the writer’s knowledge of basic writing skills, his first read also gives me an idea of what the story is about, the writer’s voice, and her grasp of basic story elements, such as point of view and characterization.

The second read is when I evaluate content: the initial hook, the flow of the story, motivation of characters, balance of dialogue versus narrative, and use of descriptive detail. These factors weigh heavily when scoring.

Here are some questions to ask yourself when editng your work before entering it in a contest:

What have I revealed in my first line that compels the reader to want to know more about the character or situation I have introduced?

Suggestion: Create a situation that conveys a sense of urgency or a character forced to make a major decision.

Have I defined my characters in such a manner that readers can identify with them on some level?

Suggestion: This does not necessarily refer to physical description. Give the reader insight into your character’s goals, motivation, and response to his situation.

Does the story move forward without multiple references to the character’s past?

Suggestion: Stay in the moment. Do not jerk the reader out of the story with paragraphs of backstory.

Suggestion: Avoid “talking heads.”  Show your characters’ body language to reveal emotional responses to verbal interactions. Use beats verses tags to identify the speaker.

Do I make use of all five senses to enhance my scenes? 

Suggestion: Don’t tell the reader your character walked out of an air conditioned building into sweltering heat. Show him squinting against the brilliance of the sun because he misplaced his sunglasses. Describe the feel of the trickle of sweat down his back in the 100+ degree temperature.

Have I used descriptive action verbs?

Suggestion: Specify your action verbs. A character who walks into a meeting late draws less attention than a character who stomps, marches, bursts, flounces, or saunters through the door.

These are just a few of the basic elements that will make or break your story when you place it in competition with the work of other writers.

Why do scores vary so widely between judges?
One of the most enjoyable social activities I engage in is our local monthly book club. Even though we all read the same book, we come away with a different perspective on the story, the characters, and the author’s motivation for writing it.

© Can Stock Photo Inc. / Norebbo

Just like readers, every judge brings to the table their own thoughts and biases about what is good writing and what isn’t. Keep in mind that most judges do have some level of experience to back up their observations about your writing. If the same issue is brought to your attention by more than one judge, recognize it as a weakness that needs to be improved upon and take steps to do so.

On the other hand, you know your story. If you disagree with one judge’s suggestion of recommended changes, seek input from other writers.

What do I gain from entering a contest?

Self-esteem is #1. You did it! You consider yourself a writer and you have the confidence to put your “baby” out there in front of sometimes very critical eyes.

You will receive valuable input from people in the industry who have seen hundreds, maybe even thousands, of stories.
You must exercise the discipline required to meet a deadline.

You learn to follow directions. This may sound silly, but it prepares you for meeting submission guidelines set forth by a publishing house. Often, failure to use proper format will result in rejection, both in a contest and from an editor.

Which contests should I enter?

Almost all writing contests charge an entry fee. You can find as small or as large of a competition as you want. Writing groups in your area may offer contests. Various chapters of organizations such as RWA (Romance Writers of America) sponsor contests. ACFW (American Christian Fiction Writers) offers an annual contest as well as individual chapter contests. National publications such as Guideposts advertise an annual writing contest.

Prizes vary from a few dollars to large amounts of cash. Sometimes, publication in the respective magazine or on a website is realized, free admission to a workshop or conference, or paid membership in a writers’ organization.
Consider the level of competition you wish to engage in. If you’ve never submitted work, you may be entering solely for the feedback you will receive. A smaller, less expensive contest would be more appropriate to meet that need.
Whatever contest you choose to enter, do so with an “In It to Win It” attitude, incorporating the above tips to polish your work until it is the best it can possibly be. Even if you don’t clinch that coveted first place spot, you come out a winner for the experience you will have gained.


Patti Shene has enjoyed writing since childhood. She is published in two anthologies, Love is a Verb Devotional and Angels, Miracles, and Heavenly Encounters, as well as in local publication

She served as Executive Editor for Starsongs, a publication of Written World Communications (WWC), written for kids by kids from 2010 – 2013. She also held the position of Division Manager for YA and Children’s Imprints with WWC for several months.

She has three novels in progress. Patti enjoys encouraging other writers by judging contests and featuring writers as guests on her three blogs, located at www.pattishene.com.
Patti is a retired RN, formerly from Long Island, who resides in a small Colorado town with her husband of thirty-six years. They have two wonderful adult children and one amazing 12- yr old granddaughter.

Delia Latham: My Ten Commandments of Writing

This post is part of a mini-blog hop, in which a few writers have committed to writing their own 10 Commandments of Writing, and sharing them with each other and the public via posting to their blogs. Following is my own, personal Ten Commandments of Writing. The other authors are listed at the bottom of this post, with links to their Commandments. We hope you’ll visit them all!  
 

1. Thou shalt not make writing thy god.

Whatever has top priority in our lives becomes our god. In my life, only God is God. I will control my career; it will not control me. Writing is high on my priority list, but God is #1 on that same list. Family is #2. Then comes Career…#3.

II Peter 2:19b—People are slaves to whatever has mastered them.

2. Thou shalt never forget Who gave thee the talent to write. Allow this Giver of Gifts to dictate the words thou writest, and never forget that thou art nothing more than a scribe for Christ.

God is the author. I am only His transcriptionist. ALL the glory…ALL the honor…ALL the recognition belong to Him. Should I ever be blessed with success in the publishing industry, I will never fail to recognize the true Author of the books whose covers bear my name.

1 Corinthians 10:31—Whether, then, you eat or drink or whatever you do, do all to the glory of God.

3.  Thou shalt write something every day. 

 A journal entry, a blog, a short story or article.  A chapter in your current WIP. Something. Every. Day.

That said, life sometimes hands out a slice of “Surprise Pie” that puts a kink in the works of my best-laid plans. Things will happen that I cannot control. As often as possible, I will push aside, climb over or dig under the road blocks and write anyway. But on days when it “just ain’t happenin’,” I will not let that little kink clog my writing arteries. I will make up for the day’s loss by writing more the next day or two.

Proverbs 24:16— For a just man falleth seven times, and riseth up again.

 4. Thou shalt write a certain number of words per week on a current WIP.

Even when certain days do not include working on my WIP, by the end of the week, a specified word count goal should be met. Consistently. Every week. Otherwise I’ll end up being buried someday with a stack of journals no one wants to nose into tucked into the folds of my satin-lined casket…and very few completed, published and well-received novels.

Proverbs 16:3— Commit your work to the LORD, and your plans will be established.

5.  Thou shalt not be kind to thy hero/heroine.

Effective conflict does not happen with spoiled characters. As a writer, my job is not to mollycoddle my hero and/or heroine. I must toss them into a rink with the three H’s: Hardship, Heartbreak and Hopelessness. Take away the things they love most. Put them in situations that seem impossible to overcome…and then help them overcome them. (Or, in the words of James Scott Bell, “Get your lead up a tree, throw things at him, get him down.”) Just like in real life (and the Army, of course), sometimes a little tough love is necessary to make a person “be all they can be.”

Ps. 66:10-12 (NIV)— ¹⁰ For you, God, tested us; you refined us like silver. ¹¹ You brought us into prison and laid burdens on our backs. ¹² You let people ride over our heads;  we went through fire and water, but you brought us to a place of abundance.

6. Thou shalt be a ruthless killer of thy “darlings.”

My words are not sacred. I will cut them. Edit them. Scratch them. Toss them. Learn to tell the difference in gold and “fool’s gold.” I’ll keep the best, toss the rest…then put the “best” to the test and start the process all over again. Eventually, I will hold in my hand a shining nugget of pure literary gold. A true darling.

Pro. 25:4—Take away the dross from the silver, and there shall come forth a vessel for the finer.

 7. Thou shalt accept constructive criticism with grace, and willingly learn from the wisdom already gained by more experienced authors.

The Bible has a lot to say about the ability to receive instruction…and the woes that befall those who refuse to do so. Success comes from applying oneself to learning from others who have already “been there.” No one is born knowing everything he or she needs to know to be successful — in life or in any chosen field.

It’s crucial that I develop a thick skin and absorb instruction and constructive criticism like the water of life…because, as far as my career is concerned, it is. I will ask for it. Accept it. Take it with a smile. Apply it. And I will become a better writer.

Proverbs 23:12—Apply thine heart unto instruction, and thine ears to the words of knowledge.

8.   Thou shalt not forget that someone helped you, nor fail to return the blessing by helping other writers traverse the path you’ve already walked.

 The circle of writing life. One learns, and then passes on that acquired knowledge to less experienced writers…even as one continues to learn more. I will never stop learning and never stop passing on the blessing of knowledge. The circle never ends.

Genesis 12:2— And I will make you a great nation, and I will bless you, and make your name great; and so you shall be a blessing.

  9.  Thou shalt not covet thy fellow author’s gift, nor compare thy gift with another’s.

Learning writing techniques and mechanics from more experienced authors is a good thing. Trying to duplicate their writing styles is not a good thing. I will learn from others, but I will apply my own skills and talents and experiences and uniqueness to develop a voice and writing style of my own. I will write like me. Mimicry and uncomplimentary comparison of myself to another writer is not beneficial.

2 Corinthians 10:12—…but they measuring themselves by themselves, and comparing themselves among themselves, are not wise.

 10. Thou shalt write with all thine heart, and with all thy soul, and will all thy strength, and with all thy might.

I will write with passion and joy. Nothing offered half-heartedly is ever good enough.

 I will love what I’m doing for as long as I do it. If I stop loving it, I will stop doing it. I cannot write with passion if I don’t love to write. And if I can’t write with passion, I’m wasting my time and my readers’ time. I will love it or leave it.

However, I must remember that “the gift and calling of God are without repentance.” God has called me to write, and He’s not going to change His mind. But He wants me to be joyful in my journey. Based on Ps. 16:11 (see below), it would stand to reason that, if I lose joy in doing what God called me to do, then I must have somehow taken myself out of the presence of the Lord. If that happens, I must find Him again… absorb myself in His presence…and find my way back to a joyful writing journey.

Col. 3:23— Whatever you do, work at it with all your heart, as working for the Lord, not for human masters.

Ps. 16:11— Thou wilt shew me the path of life: in thy presence is fulness of joy; at thy right hand there are pleasures for evermore.

Well, those are MY commandments. The links below contain commandments written by author friends. Please…won’t you visit them, as well?

Paula Mowery on Creative Christian Writers Crank Up

Clare Revell on The World Can Wait

Jayna Morrow on JaynaMorrow.com

Julia M. Toto on JuliaMToto.com

Brooksie on Groovie Brooksie 

Lilly Maytree at Lilly Maytree Blog

Linda Yezak at 777 Peppermint Place

Therese M. Travis  at Paperfaces

Pamela S. Thibodeaux at Pam's Wild Rose Blogspot