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Archive for characterization

Hooking: It Ain’t Easy . . .

Friday, March 5th, 2010

. . . Hooking READERS, that is! (what did you think I meant?!) *wink wink*

The components of a romance novel are by no means static. Now days, heroes are more heroic and heroines are made of decidedly sterner stuff. Writing is more active and the love scenes are hot enough to singe a gal’s eyebrows.

Amdist all the evolution there is one factor that has remained the same . . . delivering up a hook strong enough to keep a reader coming back for more.

The question on every writer’s mind is: HOW?

During a recent trip to the grocery store (sans kids), I shimmied on over to the book rack to do a little “research”. The world was my oyster at this point! I didn’t have two kids squawking and squalling in a cart to rain on my parade.

I scanned the first pages of six Regency Historicals and was pleasantly surprised with the findings. Some relied on a clever situation to snare my attention while others used the “grab-ya-by-the *bleep*” kind of first line.

The one I bought? I couldn’t resist one of the intriguing first scenes. Although, I will say some of those hum-dinger lines were pretty hard to pass up! Easy to see why those gals get the big shopping money!

So, what’s the magic equation to writing a killer first line? Does such a thing exhist?

Maybe I’m not the one to answer that question. After all, I still believe there are little elves stuffed in a tree somewhere out making all those yummy chocolate covered cookies just for me! lol

I think if someone were to solve this age old riddle, they’d be ga-zillionaires. Bigger than Oprah. Seriously!

The bottom line is: Every writer should know what it is about their genre that appeals to the traget audience. The easiest way to do this is to read A LOT! Call it research, that’s what I do. Ha! If only learning about the Kreb’s Cycle and Glycolytic Pathways had been this fun!

Besides reading, a writer needs to make a diligent effort to spend the time with their booty planted in the chair! Learning craft is only half of the battle. Application is other.

The same principle applies to motherhood. Sure, I read every single pregnancy book in print, but no amount of research prepared me for a newborn who didn’t get the memo on how she was supposed to act. Confusing? Yes. Daunting? A little. Insurmountable? NO.

We’re moms! There isn’t much we can’t do. Shoot, just look at what a little “mommy-spit” on a Kleenex can do for a grubby face! After surviving motherhood, “hooking” can’t be all that hard! :)

What about you? What kind of “hooker” are you? Do you have any insight to share on how to snag a reader’s attention? Better yet, what snags your attention?

For more on Sarah Simas, check out her blog: The Lovestruck Novice and the get in on the round table discussion with her CP group: Friday Night Write

This Is Sure To BOWL You Over!

Monday, February 8th, 2010

I’ve never been a big fan of sports on TV. I just can’t seem to stay focused. Of course, I do enjoy oogling  the linemen and their snug-fitting britches. Wowza! Definitely a diet friendly slab of beef-steak! J

As much as I like “taking in the sights” of the Super Bowl, I typically pay more attention to the commercials. Hey, we’re a “here we are now, entertain us!” kind of nation. Be it Cindy Crawford in cut-offs at a soda machine, mono-syllable frogs, or a granny asking for her beef, we tune in and expect to laugh, smile, and maybe cry.

How does this apply to writing?

I’m so glad you asked!

Using our superior imaginations, *POOF!* the super manly Super Bowl is now a romance novel! The Saints and the Colts are the main characters. (I’ll let your team preference decide who the H/H are. *winkwink*) GMC? Duh! T-D, we want a touch down!

Secondary characters? Why, the COMMERCIALS, of course!

Think about it. The battle of wills between the opposing teams is what draws us to the lazy boy, but it’s the commercials that keep us entertained and engrossed during the downtime. The Super Bowl would not THE SUPER BOWL without the commercials! It’s like bread and butter, baby! They just go together! 

Same goes for a novel. It’s the secondary characters that provide things like comic relief and additional tension to a story.

Take for example, Gone With The Wind. The tempestuous Miss O’Hara would have been completely irredeemable without the gentle guidance and influence of Melanie Wilks. Genuine and selfless, Melanie’s character was the antithesis of Scarlett. Ms. Mitchell knew what she was doing. How many times did the devilish Mr. Butler use Miss Melanie to taunt Scarlett? Too many to count and each time he did- chaos ensued. A perfect point of contention to wiggle between the two main characters . . . and Melanie didn’t have to do anything in particular. She just had to BE Melanie!

Or what about Pride and Prejudiced? Would Ms. Austen’s tale be as intriguing and as legendary without the conflict Mr. Wickham, Lydia Bennet, Caroline Bingly, and Lousia Hurst added? Where would the all the pride and prejudice have stemmed from?

For all the Kenyon fans out there, would the Dark Hunter books be as magical without the character of Acheron? He is in every DH book, but never as the “main character”- not until he gets his own leading man role, almost thirteen books into the series!

We need these secondary characters to act as both buffers and catalysts to round out the edges our larger-than-life heroes and heroines leave behind. For all the non-Super Bowl watchers who are stuck watching the game (like me!), the commercials make the experience. A football game is just a bunch of men whacking the crap out of each for want of a stuffed lemon-shaped ball, but with hilarious and dazzling 30second bits of relief, the day doesn’t seem so tedious. Just like a book can have a pair of unlikely lovers duking it out, but they need something or someone to either drive them apart or meld ‘em together.

The moral of this story? Even a football game can become a writing lesson! Imagine that!

So, tell me, what’s the oddest thing you’ve ever applied an element of writing to?

(ps- I owe a huge thank you to my mother-in-law for inspiring the concept of this post! :) )

 To learn more about Sarah- swing by: The Lovestruck Novice  and her critique group’s blog, Friday Night Write.

Be sure to click on over to The Lovestruck Novice Feb. 10th to scope out the new series called, A NOVICE TO WATCH. Be the first to know some rising stars! The novice in question just happened to be a fellow newbie whose entry kicked my rear in the Southern Heat contest last year.

 

 

Will The Real Joan Wilder, Please Stand Up?

Monday, January 25th, 2010

Remember Romancing The Stone? Shoot, who couldn’t?

I was too young to watch the flick when it debuted in 1984, but easily fell in love with block-buster a decade later. By that point in time, I had already been devouring romance novels by the bag full. So, it was no surprise that I loved every aspect of the storyline, especially the characters.

I wanted to be Joan Wilder.

She was a writer- kind of dorky, but sassy, too. And Jack T. Colton . . .  oh, my! Now, he was dreamy. Brave, adventurous, and devil-may-care, he made the perfect hero. I could watch this movie over and over again. (and have :) )

So, last week, during a particularly rainy and cold day, I popped in the DVD and got ready to be entertained. Instead, I found myself watching the movie through new eyes. Really seeing the elements of the story. 

A plot line with twists and turns? Check!

Well-developed characters with sound goals, motivations, and conflicts? A believable character arc? Check, Check!

I may have been watching a movie, but for once I was tuned into the framework of what made Romancing The Stonesuch a phenomenal movie. This was studying, but BETTER. Kind of like back in college when I would tape note cards with study questions to the individual milking stations. Wipe off a cow’s udder and read a question. Hook the cow up to the milk claw and read the answer. Of course, by the end of my shift the cards were completely dirty, but it was still studying made easy! Ok, so I was a bit of dork, but I did very well on tests considering by the time most students got to class, I’d been up since 2am studying. Ha!

It was fun and very enlightening to apply what I’ve been learning about craft and writing. (I’m just thankful I didn’t have to get covered in muck to do it!)

I’ve been actively pursing writing for just about a year and a half and never would I have thought there was so much that went to crafting a good story. In a way, I’ve had to attack the learning curve in pretty much the same fashion I did when chasing my degree. I was tenacious and very, very driven. It’s why almost 8 years later, I can still recall the percentages of how much water and solids make up milk. Or what the length of a pig’s pregnancy is. (It’s 87% water to 13% solids and 3months, 3weeks, and 3days, by the way. lol)

It’s kind of weird how things just slide into place and then smack us upside the head. I think one of the most important tidbits I’ve picked up about writing is to never EVER stop paying attention. Never stop learning. There is always room for improvement!

So,  the next time you need a slap shot to get your thinker-tinking, take a break and watch your favorite flick. You never know what you’ll walk away with.

What about you? Do you find ways to apply the cache of writing skills you’ve honed to everyday life? Better yet, how do you keep your passion for writing alive?

For more on Sarah Simas, check out her blog,  The Lovestruck Novice. Or Friday Night Write, a blog she shares with her critique group.

Don’t Sweat The Small Stuff: Or, Margins Don’t Matter (Much)

Thursday, January 21st, 2010

Nothing can stop him . . .         June, 2010

Nothing can stop him . . . June, 2010

Yes, another post on the topic of not sweating the things that just don’t matter.  Why, you ask?  Because I do just that, of course.   But here, I’m talking the submission stuff that just doesn’t matter, but that we often waste valuable time and energy worrying about.

(Now, if it wasted sufficient calories, I might actually suggest it.  But it’s negligible, really.)

My agent now takes care of all the things that make a submission look good, such as a potent sales pitch (otherwise known as a ‘query’–don’t forget that, and confuse a query with something silly like ‘tell them what my story is about’.  No, No.  It’s a sale pitch.  Hook ‘em.)

And my editors want a synopsis and sample pages for as-as-yet uncontracted &/or contracted-but-not-yet-written books.

Here’s what they care about: Story arc; Strong conflict; characters who have story-important things to do, like outwit bad guys and come to find trust their own inner strengths and thereby, be ready for real challenge: living someone for the next 40 years.

Mostly, they care about writing that hooks them and pulls them along.  They care about how the story simultaneously ‘stands out’ and ‘fits in’ on a shelf somewhere, and who knows who they do this unquantifiable and yet somehow mathematical computation.  (Aside: This amazes me.  Yes, they may be wrong sometimes.  But they are also quite good at it, whereas I am terrible at marketing-type things, so I want my editors to do this.)

What agents and editors do NOT care about are precise margin measurements.

They do not care about fonts, except that they’re easy to read.

They do not care about paper weight or proper headers, so long as they are numbered with contact information readily available.

They do not care about whether your bio paragraph comes first or last (There are wonderful agent blogs suggesting where to place it, and why.   You should definitely understand the reasoning behind these suggestions, so you can decide for yourself where to put it in your query. But in the end, the do not care.  It’s not a thing that matters.)

(Nor do editors and agents care how much you as a human grew during the writing of the book, or how much your critique partners or beta readers loved it, so don’t put that in there either, but I digress.)

England, 1152: After seventeen years of civil war, things are about to change...

England, 1152: After seventeen years of civil war, things are about to change...

Therefore, you should not care either.

Writing contests can be incredibly valuable tools to teach new writers the basic protocols for manuscript writing and submission.  They can be wonderful ways for more experienced writers to get feedback on their works-in-progress from non-friend/crit partner sources.  But bear this in mind; they are not the Ultimate Truth of Manuscript Submission or Story. They are the proving grounds, where you and your story can get blown up a few times.  They are not the real battle.  That is faced day-to-day, in refining your craftsmanship of Storytelling in the modern age.

So, when you’re submitting, don’t sweat the small stuff like margins and whatnot.

Use your query as a sales pitch, and concern yourself with a constructing and writing a great story.  Strong conflict, increasing tension, external events and personal goals which force the protagonists into facing their worst inner fears, and characters who we care about.   Compelling writing.

Margins just don’t matter (much).

Kris Kennedy writes sexy, adventure-filled medieval romances for Kensington and Pocket Books.  Her debut book,THE CONQUEROR, came out May ’09.  Her second, THE IRISH WARRIOR, winner of the 2008 Golden Heart Award for Best Historical Romance, releases June ’10.  She loves hearing from readers–stop by her website, sign up for her newsletter, and say Hi!

Stuff Has To Happen

Thursday, January 7th, 2010

Making Things Active In Your Mss;

Or, If The Amazing Captain Underpants Has More Plot Twists Than Your Ms, You May Be In Trouble

Nothing can stop him . . .  June, 2010

Nothing can stop him . . . June, 2010

My son has recently discovered The Amazing Captain Underpants adventures.  Fortunately, I greatly enjoy them too.  With lines like, “George and Harold were usually responsible kids.  Whenever anything bad happened, George and Harold were usually responsible,” how wrong can you go?

In any event, as we ripped through the first book at lightning speed, in one sitting, Christmas night, I realized there was a lot happening in those pages.  Like, a lot.  Not deep, dense thematic stuff stuff, nor layered complications of the sort single title length popular fiction writers (us) aspire to.   But just . . . stuff.

Now, whenever I recount a book I’ve read or a story I’ve seen, rarely do I say, “It was a majestic sweeping survey of human relations and human frailty blahblah.” I, and others, generally say things more like, “And then they ran around the corner, right?, and there was this car, and it EXPLODED! So, they went back the way they came and….”

i.e. Stuff Happens.

I’m not saying we should pack our novels with titillating, pointless conflicts or the literary equivalent of car chases and pyrotechnics just to fill pages.  I believe firmly that we need deepening risks and complications for our protagonists,  not high-speed, successive-but-unrelated-conflicts.  I cheer when I get a story where the tension is ramped up via the use of subtext.  I love underlying themes, revealed through character blind spots, Black Moments and triumphs.

I’m just saying we need to make sure there’s enough actually happening in our story world, actual story events, that will make the reader turn the page.

This means the reader has to have questions.  Questions like, “OMG, how will she ever get out that window with him standing right there?”  Or “Oh man, they are SO going to fight about this.  Wonder who will win, and what they’ll do to the other person when they do?”  Or “No, way!  That army just camped beneath the tree they’re in–holy cow, what next?”

In short,  something of more or less value has to be at risk, so the reader can wonder, “How will they make it out of this?”

And for me, that is one of the most fun things about writing,.  Making things bad for other people.  ;-)

On the topic: http://www.therejectionist.com/2009/09/little-kids-can-write-books-better-than.html

And then, of course, there’s this: ( http://www.youtube.com/watch?v=EBM854BTGL0&feature=related )

See what she’s talking about?  Story. Story, story, story. Not themes, not character arcs.  Things That Happened That Made Stuff Really Bad for Characters We

England, 1152: After seventeen years of civil war, things are about to change...

England, 1152: After seventeen years of civil war, things are about to change...

Care About.

Because, in the end, we readers aren’t necessarily supposed to ‘hear’ the larger issues at work in a story.  We’re just supposed to get a good story.  Make that: A Good Story.   The actions and unfolding events are supposed to communicate any larger issues or themes.  And those unfolding event and subsequent character actions are best when they increase the stakes, when something changes as a result of the event and choices made.

(Hint: Sitting in a coffee shop chatting  probably won’t do it. It may reveal information or character, but if it doesn’t change anything in the next story scene, it doesn’t count.)

When you ask a child to tell you a story, or the synopsis of a story they’ve read or heard, you get the important Story stuff.  Plot twists, explosions, the big Black Moments, what the bad guy did, and how the good guy fought back.  (Of particular note: They will usually, although not always, mention warrior-heroes with swords if one was, in fact, present.  I am in favor of this.)

I’m telling you, if you have a young child, and his/her reading material contains more plot events than your current work-in-progress, you may be in trouble.

(Said by the woman furiously trying to write a wip with value-relevant plot turns that deepen conflict, increase stakes, and generally emotionally sucker-punch the hero and heroine who are already, poor kids, in a very tight spot. )

How about you?  How’s your work-in-progress? Feeling stuck?  Would a Captain Underpants-type plot turn help get you going again?  Remember, sometimes (often) this writing gig can be fun too.

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