A Space Travel Guide for Science Fiction Writers

If you or any of your friends write science fiction set in space, check out this great resource: Intergalactic Travel Bureau Vacation Guide to the Solar System, by Olivia Koski and Jana Grcevich.

It's a lot of accesible real science about realistic space travel and how things work on the moon and the planets in our solar system. Mixed in with this science is a lot of great speculation about what tourism would look like in a more space-faring future.

It's already inspired ideas for a couple of short stories, and I'm going to read through a lot of the first chapter again and take notes on what space travel would really be like.

It's also simply a fun and interesting book, beautiful with its helpful illustrations and retro-chic travel posters for outer space.

Check it out from your library or get the Vacation Guide to the Solar System on Amazon. I recommend the actual paper version to appreciate the full aesthetics.

You can read (and listen to) Melinda Brasher's most recent short story sale at Pseudopod.  It's a tale of a man who doesn't believe in superstition...until he has to.  You can also find her fiction in Ember, Timeless Tales, Intergalactic Medicine Show, and others. If you're dreaming about traveling to Alaska, check out her guide book, Cruising Alaska on a Budget; a Cruise and Port Guide. Visit her online at http://www.melindabrasher.com

Avoid These Common Mistakes in Creating Characters for your Story

I do some of my best thinking
while pulling weeds.

                                Martha Smith

Many characters inhabited the early drafts of my WIP: a MG mystery. Like many of my characters’ counterparts—kids—I assigned each character a “friend,” following the example I’d seen so often of kids going around in “packs.”

What fun I had! The snappy dialogue! The endless opportunities to showcase what was on everybody’s mind! And oh, the ballooning plot--sensational! Until along came an editor who, with utmost gentleness and understanding, gave me a reality check.

Each Set of Friends Morphed into One Character

Whoa! Cut! My editor suggested I settle on one character for each set rather than have two: one sidekick for the main character, not two. One antagonist, not two. One little brother, not a little brother and his friend. I edited out the "doubles," the “extras”, and though it was painful eliminating the “friend” appeal I had created, it did clean up the story—a lot. But there was still work to be done.

Each Character Must have a Role

In narrowing down the number of characters in my story, a few things happened.

• Though my MC’s sidekick lacked other girlfriends, their relationship became stronger. 
• There were fewer distractions; that held true for the antagonist and the little brother, too. 
• And then . . . I was told that the little brother would have to go. She knew this would be difficult for me. I loved this character dearly. I had rounded him out so well and he was funny. But that wasn’t enough. 
• So, I gave him a role. In the beginning he plays a prank on the main character. For the rest of the story, he faded back into the background. Still not enough, she said. 

Each Character Must have Follow-Through

Now it’s your turn to make sure your characters have roles throughout your entire story. You do that by creating a story arc not only for your main character, but for each one of your characters. To use the bigger role I assigned to my little brother character as an example:

• When he first appears, he brings up the mystery.
• Early in the book, he plays a prank on the main character, which is directly related to the plot.
• A little later, he teases her about the prank.
• Still later, he takes part in one of the main character’s adventures.
• And two things were added to top it off near the end: 
• He possesses a secret of his own that he brags about to the main character and her sidekick, which is eventually revealed, and . . .
• He receives a surprise of his own.

Writing instructors describe the creation of  characters’ story arcs in different ways. The one that has stuck with me is to view your characters’ story arcs as strings of pearls that run throughout your story.

One way you can accomplish this is to highlight your characters’ actions with different color highlighters to make sure they are not forgotten in any section of your book. While creating the story arcs for my characters, I found the dog in my story had disappeared for about thirty-five pages. I went through that section and added him in where he fit, and when he was gone from the story, showed an explanation for his whereabouts. This must be done for each character. And, for recurring items such as a key, a flashlight or a locked door, items I had to check and re-check to make sure mention of them was accurate.

A Word about Multiple Points of View

Editors say that new writers should shy away from attempting multiple points of view. They say it takes experience and skill to pull this off. A good example applies to an adult novel from Audible I recently listened to, which was told in two sisters’ alternating POV’s. There were problems. First, their names were similar, perhaps because they were sisters. I had difficulty jumping from one to other and felt confused about who was who.

The other problem was that unfortunately, I didn’t care about the sisters. The author hadn’t, in my opinion, spent enough time allowing me to get to know each of them. I almost didn’t finish the book because it became tedious rather than enjoyable.

One of my writing instructors dislikes multiple points of view because of this problem. She believes in having one main character that you as the reader can get to know, love and “get into her head” so that you experience what she experiences throughout the book.

Personally, I find novels told in multiple POV’s refreshing. I’ve enjoyed sinking myself into more than one character. But I agree with my instructor: it has to be done right. And as a beginner, I don’t plan to venture there until I have a lot more experience under my belt. But I do plan on highlighting my characters' arcs and making sure they have ongoing roles tied to the plot.

Photo: By Linda Wilson

First Book: Almost Done

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she has completed her first book, a mystery/ghost story for children 7-11 years old, and is hard at work on Book Two in the series.  Follow Linda at www.lindawilsonauthor.com.

Plot or Character?

Which is more important in fiction: a page-turning plot or deep and compelling characters?

I've always thought it depends on the genre, the audience, and personal taste. However, I've just started reading a book in which the author, Jeff Gerke, argues convincingly that both are equally important but most authors are naturally good at only one.

Moreover, many character-first writers underestimate the need to have a good plot and may even feel that they're selling out if they add too much Hollywood-esque excitement. Plot-first writers may use their characters mostly to advance their fantastic plots, not realizing that their characters come across more like props than actual people. To create truly great fiction, whether it's literary or commercial, a writer needs to master both character and plot. It's got me really thinking about what kind of writer I am: a character writer. So this year my new goal is to work on becoming a great plotter too.

I challenge each of your to analyze what you're best at and focus for a while on the other skill. In future posts, I'll pass on anything particularly useful I learn from this intriguing book: Plot Versus Character; A Balanced Approach to Writing Great Fiction by Jeff Gerke.

Melinda Brasher's most recent sale is a twist on Rumpelstiltskin, appearing in Timeless Tales. You can also find her fiction in Nous, Electric Spec, Intergalactic Medicine Show, and others. For what readers have called "extraordinary character development," read Far-Knowing, her YA fantasy novel. Visit her online at http://www.melindabrasher.com

Taking inspiration for fiction from non-fiction

A little stuck in your novel? Looking for a great idea for a short story? Just want to stir up some creative juices?

Look no further than non-fiction.

-History books and biographies, obviously, are full of amazing, horrifying, or interesting stories that can provide inspiration for fiction.

-Good psychology books can help create or flesh out your characters.

-Science books provide ideas and what-ifs for science fiction, modern day thrillers, etc.

-What if one of your characters is a specialist in something? Or wants to do something you know little about? You'll need to do research. And all those research books are writing fodder.

-My favorites, however, are books about animals—their adaptations, instincts, specialized skills, etc.

My highest-paid fiction sale and the story I'm working on now both grew from seeds of truth I found in animal books. And if you're into science fiction, consider all the bio-mimicry options out there.

So, what sorts of non-fiction books do you take inspiration from? I'd love to hear in the comments.

Melinda Brasher's newest book, Cruising Alaska on a Budget, is a guide for people want to explore the beauty of Alaska from the water but who also like to save money for the next adventure.  If you have Amazon Prime, read for free! Or visit her website at cruisingalaskaonabudget.wordpress.com 

5 Ways to Find a New Idea

I previously shared 5 pursuits to inspire creativity, as well as ways to get unstuck. While you can use activity to find inspiration and breathe life into your projects, sometimes what you really need is a new idea.

Whether you are writing blog posts, prose, or long-form fiction or non-fiction, sometimes you need to go back to basics and find a kernel of an idea to get you started.

Here are 5 places to find ideas, as well as how to use them for non-fiction or fiction.

1. Explore Social media. See what's up on your favorite social media pages and groups.

Non-Fiction: Check out which newbies are doing what in your field. Then, reach out to some of these up-and-comers, and see if they would be interested in being interviewed This could turn out to be a profile for your blog, an article to pitch, or a feature that includes several people doing interesting things in your field. 

Fiction: Social media is a great place to seek out character traits, including descriptions, hobbies, and even jobs. Sometimes a great character is all you need for a fabulous story.

2. Read Books. Writers should be readers.

Non-Fiction: Write a list post of books to recommend your readers. Lump books together on a certain theme or topic. Start with ideas that interest you, because, if you get excited about a topic, it's likely your readers will too.

Fiction: Pick a page, a paragraph, and a line in a random book on your shelf. Or go to a library and pick something new. That line is the start of your next story or novel. Okay, this may not work for a long-form project, but when you give yourself the mandate to write at least a few pages about any random thing, it will certainly rev up your creativity.

3. Watch Videos. Dive into someone else's world.

Non-Fiction: Take a topic you've always been curious about or find a person who seems interesting, do a search, and watch some videos. Something within this exploration will make a good topic.

Fiction: This is a great place to people-watch (and find character traits) without leaving the comfort of home. Since this is a visual medium, pay close attention to the way people interact. Look at body language and listen for dialects.

4. Have a Conversation. Pick up the phone and call someone you haven't spoken to in a while. Or else, strike up a conversation with someone while waiting in line.

Non-Fiction: You never know what you can discover about someone unless you really pay attention when they speak. This person may have a great lead for a post idea ...or this person may be that great idea!

Fiction: Take someone's story and fictionalize it: minimize or exaggerate it! Have fun with this one. 

5. Make a List. Write a list of anything that has ever piqued your curiosity. 

Non-Fiction: Pick something at random to learn and then write about it. If it's a long-term project, write a monthly update on your progress.

Fiction: Challenge yourself to write a story incorporating no fewer than 20 items on the list. Feeling gutsy? Go for 50.

This is just the tip of the iceberg. The more you seek them out, you will see that ideas are everywhere.

Where do you go to find ideas, especially when ideas elude you? Share your recommendations in the comments. 

* * *

Debra Eckerling is a writer, editor and project catalyst, as well as founder of Guided Goals and Write On Online, a live and online writers’ support group. 

She is the host of the Guided Goals Podcast and author of Purple Pencil Adventures: Writing Prompts for Kids of All Ages. 

Debra is an editor at Social Media Examiner and a speaker/moderator on the subjects of writing, networking, goal-setting, and social media.

Writers: Pin Down Your Alter Ego(s)

Give your garden sunshine, water and food. Watch it thrive.

 

Whatever the origin of your character, whether it be a kid you knew in your childhood, a composite of kids you've known as in the character of Tom Sawyer who was based on a number of boys, or other observations you've made of kids; identifying and understanding the different sides of your own personality can only help.

A helpful resource in character development is Elaine Marie Alphin's (1955-2014) book, Creating Characters Kids will Love. Alphin, author of Ghost Cadet and Ghost Soldier, as well as YA books and books for very young children, said in an interview, "There's a little of me in just about every character I write. I think there has to be, in order to give each character life." 

 

Some of your character creations may surprise you. Those are the best ones. Alphin said, "This comes into play when you try to make the character do something you thought was essential, but he refuses to do it! He wants to do something else. He has just surprised you. This is a wonderful moment! When it happens, let him do it and see what happens. Often he'll do something that's more effective than what you had in mind in the first place."

 

Keep a Character Journal

A good way to begin is to keep track of your "persons of interest." Describe the way he dresses, her mannerisms, what attracted him to you, etc. In her book, Alphin goes into great detail about capturing what the people were like in your childhood, the things they did and what you thought about them.   

• Who were you as a child? Were you the oldest, youngest or in the middle? An only child?
• Write in detail how you felt about where you were in your family, what your family members were really like relative to their relationship with you.

Ways to Inform Character Creation

1. Make your character care:

• Alphin: The easiest way to make the reader care is to make the main character care. Something must be at stake for the character - something he wants, something he needs, something he desires, something he'll lose if he fails. The more critical the problem is to the main character, the more eagerly the reader will turn the page, desperate to find out What happens next?
• What you can do: Make a list of what you care about. Your character can find ways to show that he cares about these things, too.
• Make your concerns personal: My concerns center around loving and respecting nature and encouraging children to feel the same way. All my stories have taken place in natural surroundings (still, that includes apartment living, as in many children's lives, but having much of the action take place outside, hearing birds, etc.) Animals, plants, trees (insects, the sky, mountains, grass--the list is endless!) become a backdrop to the action.

2. Create a plot that propels your character to find a solution to a problem, solve a mystery, and in the process change to become a better person.

• Alphin:Character motivation is the heart of what makes a story work or not! Writers are like directors in a play - we know what we want our character to do and where we want them to move to, so we're tempted to just pick them up and move them around in order to get them there, much like pulling the strings of a group of marionettes. But if that's all we do, we end up with two-dimensional characters who are less believable than a row of marionettes dangling from their storage hooks. Characters come alive for readers when we as writers know their motivation - why they want to do or say what the writer wants them to do or say. A character's thought process has to be as believable as our own.
• What you can explore: What issues did you and your childhood friends face? Do other children you know face? Visit and re-visit these issues. Chances are these are the same that kids have always faced, described in a nutshell as "Children's Basic Needs," by Lee Wyndham in Writing for Children and Teenagers:
• The need to love and be loved.
• The need to belong.
• The need to achieve.
• The need for security--material, emotional, spiritual.
• The need to know.

3. Throughout the book there are exercises that are great for ways to develop your characters, as in this example:

• Choose a situation; write a conversation between two characters. Next, make one character your main character and add that character's thoughts and feelings. Next, add the action. Then, show each character as he or she moves or gestures. Use facial expressions to reflect his or her feelings.
• In my current WIP, I've used this example to analyze conversations between and among my characters. Some places skimped on one or more elements, i.e., I left out my mc's thoughts or feelings or how one of the characters moved, gestured or made a facial expression to reflect their feelings.

3. At your story's resolution, show how your character has changed and grown.

• In the chapter on character growth, Alphin describes in detail how to show how your character grows and changes; an element I find particularly challenging. The example that has helped the most is in the beginning of the book under the subheading, "Characters do things."
• Alphin includes a scene from her book, The Ghost Cadet, about how Benjy, her 12-year-old mc climbed down a roof for the first time. She writes, "You can tell that Benjy is afraid from his slow progress, and that he probably hasn't done this before from his awkward movements. You can see his frustration about being short. You can see the way he talks himself into doing what he doesn't want to do . . . the next time he has to climb something" he'll be more confident.
• My mc is unfamiliar with country life and in a similar scene she climbs a dark, narrow staircase, not knowing where it leads, and finds a trap door that leads to the roof. Alphin's description of how Benjy has learned from his first scary experience has helped me show better how my mc can gain confidence from hers. From there, I've been better able to show her become more adept at each new thing she tries until she is fully capable by the end to do what it takes to solve the mystery.
• Alphin: In another example, Marc wants to find the treasure in order to hold onto a person who may be gone from his life. Perhaps he will discover not only hidden treasure, but also the hidden truth that friends sometimes go in different directions and that growing apart isn't the end of the world, because you're open to new friendships. Or perhaps his friend will get caught up in the search, and Marc will realize that they're still friends after all. His friend is the real treasure, and he just needed to reach out to him in order to hold on. Either way, Marc doesn't just find the treasure, he grows and changes because of the actions he takes in order to achieve his goal. His inner problem is what makes the story unique and meaningful.
• What I've learned: What began as curiosity about the meaning of alter ego(s) led me to discover Alphin's terrific book and embark upon more in-depth thought about who my characters really are. Not just sides of my personality struggling to show themselves, but living, thriving beings with backgrounds, feelings, desires, likes and dislikes.

Photo: From Linda Wilson's collection, taken on a warm fall day in Alaska

 

                                                      

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She is currently working on several projects for children. Follow Linda on Facebook.

 

Critique Groups Do's and Don't's

Take the Leap
 

The purpose of a critique is to sift out what's wrong. Showcased is your polished masterpiece, ready for publication. Explore your options until you find the most effective, longest lasting way to vet your work.

While working as a freelance writer, my family moved frequently. Luckily, through membership with organizations such as SCBWI, I found a writing group at each juncture. The information gathered here comes from my own membership in different types of groups.

Join a Critique Group or Start your Own

Gather interested prospective members. Make sure each writer is:

• Serious: willing to devote time studying her craft while practicing it.
• Dependable: can be counted on to come to meetings and review members' work.
• Honest: willing to let members know where she stands, as a beginner, intermediate or advanced writer.
• Open: lets members know ahead of time what type of writing she would like to have reviewed.
• Communicative: gives her input on everything from critiquing to helping to run the group.

Rules that Work

• Establish a leader.
• Decide how many members are desired.
• Decide the type of writing preferred, if any. For example:   
• Open Group: Allows all kinds of writing at any level. The advantages are many.               The variety of different types of writing gives the group widely varying points of view. One of the groups I belonged to had a poet, three article writers, and an adult novelist. The group expanded my world.
• Closed Group: Offers members who write only in your genre and are at about the same level. Advantages include powerful know-how in your genre. Potential for longer critiques is possible. Partnering among members is possible for more frequent and indepth critiques. Also, members can help each other stay abreast of conferences, webinars, informational books, etc. When I wrote biosketches for Biography Today, I had deadlines which weren't easy to keep because of my daughters' activities. My writing partner spent one entire day helping me crank out one of my assignments so I could meet the deadline. Whew!
• Agree on one of the following:
• No Homework: a writer brings a chapter, a section or a few pages of a work to be read on the spot. The writer can read her own work or ask another member to read it. During the reading, each member takes notes on a separate piece of paper. After the reading the members go round- robin to share their notes then give their note paper to the writer to take home.
• Homework: each piece of writing is emailed to members by an agreed-upon date, no exceptions. Members critique the work at home and share their results at the meeting. Members' copies are then given to the writer to take home. Writer brings her own copy of her work so she can follow along during the critiques. Critiquer is given a specified amount of time to explain her critique and the writer is given a specific amount of time to ask questions or comments. I've belonged to both types of groups and really have no preference. I found both Open and Closed Groups effective as long as they were run productively.
• A timer: members agree on the amount of time given to each critiquer. Enough time is given so that no one feels rushed. There can be exceptions, along as everyone agrees, if a writer needs more time. However, this is an important rule, especially if the group is large. Everyone deserves a critique. There is nothing worse than having one person take up so much time that the meeting either lasts too long (and everyone gets exhausted, which can weaken enthusiasm), or there isn't enough time for everyone to share their work.
• Cut the Chit Chat: be firm about saving chit chat for later because it's easy to fall into this trap and lose the main purpose for meeting.
• Food or No Food: meet at a public place, if possible, such as a room at the library. Meeting in people's homes can be way too comfortable. These kinds of meetings can incur a serious loss of productivity. One of my favorite groups solved this by having two pot luck meetings a year, summer and winter, at lunchtime. We still worked but relaxed and visited. We even brought white elephant gifts for our winter get-together (in someone's home) during the holidays.

Parting Words of Wisdom

Here is a sprinkling of "focus" notes I keep on my bulletin board as reminders of what I am about as a writer.

• Show, don't tell: spend one (or more) entire revision sit-downs combing your ms for "telling" statements. Turn those into "showing" your readers what's going on.
• Nonfiction articles: one editor's advice was simple. Answer the W's in the first two (or three) paragraphs. Then the rest of your article is the How.
• Nonfiction articles and books: Before embarking on your idea (and spending time on it), make sure you have acquired the photos.
• Write it plain, then make it pretty: I heard this during an editor's talk and have followed it ever since. It's a great tool. The first time(s) "getting it down" you can't possibly expect your writing to shine. All you're doing is pouring your soul onto paper. After you're sure you've written everything you want to say, put your ms for a rest. When you pick it up again, make your writing more interesting; splather your personality all over the page; give it your all.
• Entertain your reader: Just like being a host at a party; if you're having fun, your reader will have fun.
• When in doubt, research: if you're stuck (have writer's block) it might mean that you need to do more research. Fiction and nonfiction alike both have to be accurate, so perhaps you need to spend some time looking something up to learn more about it. If you're stuck on a non-research-type problem, then you might need to rest a bit and do a THINK. One of my writing instructors talked about BIG THINKS a lot. We all keep pen and paper with us at all times. Who knows, you might solve the problem by suggesting what you need before you go to sleep at night. The problem could be solved in the morning or in a few days, depending on the size of the problem. If you can identify the problem as a plot problem, a characterization problem, etc., then study the area in question. You might find your answer there. I think we all know, too, that often our answers come while we're sewing, doing a flower arrangement, or on a walk. So sometimes it's best to do something else that's creative to relax your mind. It often kickstarts your imagination into doing wondrous things.
• Sit your reader down across the table: and talk to him. Tell him your story. You can try this out loud if you've come to a snag.
• Write while sitting on the edge of your seat: that's how you want your reader to be, so engrossed in your story that their eyes light up and their super excited about your story.
• Remember this wisdom from Robert Frost: No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.

Watch for next month's post: "You, the Writer; You the Critiquer."
Photo: Courtesy of the U.S. Navy

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She is currently working on several projects for children. Follow Linda on Facebook.

Presenting: A Title that Sells, Part 2

What do potential book buyers look at first? Your title. A jewel of information thanks to research done at Thomas Nelson Publishers and shared by Michael Hyatt, former chairman and CEO. The research yielded a list, in order, of how a book is chosen. I can vouch for the list's authenticity. It's exactly how I choose books. See if you don't agree:
1. Title
2. Cover
3. Back cover
4. Flaps (hardcover books or trade books with "French flaps")
5. Table of Contents
6. First few paragraphs of book's contents
7. Price
Note: If the author is well-known, that might be the deciding factor. (Unknown authors are a "non-factor.) Price, last? Intriguing, but true. Hyatt says, "Readers don't buy price. As long as the book provides enough value for the price requested, it sells."

In the PINC
Hyatt, referring to non-fiction books and blog posts, went on to say: GREAT TITLES ARE PINC (pronounced "pink.") Great non-fiction titles follow at least one of the following strategies:

                                                                            Examples

P: Make a Promise       Sexy Forever: How to Fight Fat after Forty, by Suzanne Somers
I: Create Intrigue          The 7 Wonders that will Change your Life, by Glenn Beck & Keith Ablow
N: Identify a Need         How to Write a Sentence: And How to Read One, by Stanley Fish
C: State the Content      Autobiography of Mark Twain, Vol. 1, by Mark Twain & Harriet E. Smith

Hyatt notes that some (many) titles cover more than one letter. And that fiction titles are in their own category--Intrigue--true for virtually all fiction books that sell.

Titles that Sell: Two Excellent Resources

1. Emma Walton Hamilton's post: "What's in a Title?". Hamilton, whose post focuses on fiction, suggests making your title:

• Specific to your book, not general (Pat the Bunny, Blueberries for Sal)
• Implies what the story is about (The Pokey Little Puppy, Goodnight Moon)
• Catchy, such as a play with language, using alliterations, rhyme or rhythm, or having a sense of humor (Liza Lou and the Yeller Belly Swamp, Cloudy with a Chance of Meatballs)
• The shorter the better (Little Toot, Freckle Juice)
• Appropriate to the story (Make Way for Ducklings, Curious George)
• Memorable (The Little Engine that Could, The Call of the Wild)

In short, come up with a title that encompasses all of the above and your title will not easily be forgotten. Summarized here are a few of Hamilton's suggestions on how to explore your title:

• A memorable line from the story (A Wrinkle in Time, Little House)
• Character names (Peter Rabbit, Corduroy)
• A place (Little House on the Prairie, Misty of Chincoteague)
• A hidden meaning (revealed in the story) (The Carrot Seed, Where the Wild Things Are)
• Something ultra-simple (Holes, Where's Spot?)

2. Tips from Writer's Relief: "How to Come up with a Great Title for your Book (or Story

     or Poem)"

• Action words: Titles with strong verbs (Call it Courage, The Cat Ate my Gymsuit)
• Quirky titles (From the Mixed-Up Files of Mrs. Basil E. Frankweiler)
• One-word titles (Severed, Hatchet)
• Inherent mystery/conflict (Encyclopedia Brown, Boy Detective, Prisoners at the Kitchen Table)

Sources: For a more complete study of creating titles that sell, I recommend that you read the entire articles summarized in "Presenting: Titles that Sell, Part 1" and Part 2. An additional site to explore is the Book Title Name Generator. For help in creating your book title, Lulu.com offers Marketing Consultation with Lulu's publicity team. Clipart from: www.mycutegraphics.com.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children and six short stories for children. Recently she completed Joyce Sweeney's online fiction and picture book courses. She is currently working on several projects for children. Follow Linda on  Facebook.

Presenting: A Title that Sells

You can judge a book by its title, Photo by Linda Wilson

It's true that an intriguing title for your fiction or nonfiction book, article, poem or story is your first pitchperson, designed to interest an agent, editor or publisher to crack the first few paragraphs, even pages. If they like what they find? You're in. Be open, though. Your publisher might surprise you by

wanting to think up a new title, thus opening herself up to the same grueling process you thought you had conquered.

Often, the right title pops in place with little conscious effort. Thank you, Subconscious. However, some titles aren't quite as apparent. That's when you dig. There are many ways to uncover it. But before you start, make sure your title meets certain criteria.

Intriguing Title "Musts"

Your title:

• is your reader's first impression of your work. It's got to be evocative, unique and precise. (Writer's Relief)
• is memorable--catchy, short (except in rare workable cases), appropriate, specific and intriguing. (Emma Walton Hamilton)
• is distinguished by an original title. (Lulu.com article by Arrie)
• fits the genre of your book and sets the tone or feeling you want to convey. (Rachelle Gardner)
• is consistent with the conventions of your genre because "fans of specific genres use titles as a kind of shorthand when they're deciding what to buy." (Writer's Relief)
• gains acceptability from friends, family and your critique group, opening it up to new perspectives. (Writer's Relief)

Examples:

• Adventure: Tends to fit a tale of a journey
• Humor: Title is odd or quirky
• Mystery: Lee Wyndam in Writing for Children and Teenagers, revised edition, calls titling a mystery a "baited hook," that contains clue words. She points out that words such as mystery, secret, case, riddle and puzzle were once required. Today for books at the nine-to-twelve level and YA's, titles are more subtle; such as these selections from her list of books nominated for a MWA Edgar:
                                          Bury the Dead (Peter Carter)
                                         The Other Side of Dark (a winner, by Joan Lowry Nixon)
                                         The Twisted Window (Lois Duncan)

Begin by Brainstorming
Rachelle Gardner, in her post "How to Title your Book," offered an idea that sounded so good I tried it and highly recommend it. Not only did the exercise open up new ways for me to view my story, but it was loads of fun. I will summarize her idea here, but recommend that you read her entire post, which includes additional excellent information.

• To get a feel for your genre, find twenty books titles on Amazon that you like and are in your genre. Write them down. Decide what you like and don't like, then put the list away.
• Make lists of words in columns that relate to your book: nouns, verbs and adjectives. For a novel, list words that describe the setting, major characters. Nothing is off limits.
  Think of the action in your story and write down words that capture it. For non-fiction, write words that describe what your book is about and how you want your reader to think, feel or do after reading it.
  Think of words that evoke an emotion, a sensation, a location, a question.
  Keep going until you reach 100 words. Write down 20 title ideas from these lists. Then put them away for 24 hours.
• Time's up: choose three to five possibilities. Run them by some people. Go back to the list from Amazon and make sure your title stands out and is not too similar to the others.
• Voila! You've come up with the best possible title!

Title and Copyright Law
Titles cannot be copyrighted in the U.S. Writer's Relief says, "we don't recommend using the same title that someone else has previously used. It makes it more difficult for your book to stand out."

Now for my rant: A recent experience prompted me to think more about titling my work than I had in the past. While browsing through a free magazine that I picked up at our local health food store, I ran across an article titled word-for-word the same as a classic children's book (not included are the
names of the magazine, editor or children's book). I immediately thought of copyright infringement and wrote the editor an email to question the use of the title. He wrote back with an inserted document of the copyright law from the U.S. Copyright Office, which I appreciated. I would have let the entire matter rest if it hadn't been for his attitude, which made my blood boil.

"Book titles are not protected under copyright law, especially if a book uses a COMMON PHRASE such as "Title." They can freely be used in various media and formats. This is why so many books and movies share the same title. If we had used the image or the original artwork from the book cover you refer to, we would indeed be in violation. However, book titles fall under no such copyright law."

The attitude so infuriated me that I searched to see if I could find out how the author came up with such a terrific title. This is what I found:

Q: How do you come up with such creative titles for your books? Do you come up with them before or after you write your books?

A: Before, after, during, and I don't think of them all myself. My mother titled [this book]." Titles I came up with the publishers didn't like and the publishers came up with titles I didn't like. "My mother was visiting us and one morning I took her a cup of coffee. She said to me, 'I think I found a title our of your own text . . ."

Bottom line: I personally enjoy titles that are tweaked from common phrases, jokes, movies, etc. as I have attempted to do with the caption under this post's accompanying photo.
End rant!

For so much advice on making titles short, I sure found a lot of information on creating the right title. Next month I'll include the rest of what I found in, "Presenting: A Title that Sells, Part 2."

Sources: Writer's Relief ; Emma Walton Hamilton; Rachelle Gardner; Lulu article by Arrie; Wyndham, Lee, Writing for Children & Teenagers, Cincinnati, Ohio, 1989.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 40 articles for adults and children and six short stories for children. Recently she completed Joyce Sweeney's online fiction and picture book courses. She is currently working on several projects for children. Follow Linda on  Facebook.

Harper Lee's Rich Legacy for Writers



Masterpieces are masterpieces not because they are flawless

but because they've tapped into something essential to us all--

at the heart of who we are and how we live. Mark Childress

Photo by Linda Wilson, Copyright 2015.

Few authors have captured the imagination of so many as Harper Lee. Especially an author who has touched so many hearts--some 40 million--with one work: Lee's Pulitzer Prize and just-about-every-other-award-winning novel, To Kill a Mockingbird. Just last year 400,000 copies were purchased, according to an article in the Los Angeles Times.

My personal foray into the fascinating story not only of the novel itself, but of Lee's life and circumstances surrounding the writing of the novel, began with a spellbinding account on the PBS show, American Masters, "Harper Lee," transcribed here in order to paraphrase or quote the views of some of the most noteworthy authors and celebrities of our times. And media coverage of the much anticipated publication this month by Harper, a division of HarperCollins, of Lee's first novel, Go Set a Watchman; a must-read, according to Michele Miller, Correspondent on CBS, This Morning; which was written about a year before the first draft of Mockingbird and reportedly discovered recently among Harper Lee's archives.

What are some of the reasons for the enduring success of Lee's masterpiece, To Kill a Mockingbird, and what can writers glean for their own work?

Great Freedom from One Major Work
Born in 1926 in the small town of Monroeville, Alabama, Nelle Harper Lee met with rejection after rejection in 1957 when, at the age of 31, she searched for a home for her novel, then titled Atticus. Though at first blush the manuscript was said to have many things wrong with it, that it needed a lot of work and was really a series of short stories with dangling threads of a plot; acceptance came when editors at Lippincott Company recognized not only the work's promise, but this author's great potential. Up until then Lee's publishing credits consisted of several short stories that she wrote while supporting herself for eight years as an airline reservation agent.

Lee settled down to write revisions of Mockingbird with the help of her editor and financial support from good friends who were impressed by how perceptive the character sketches were of the people in her hometown of Monroeville. This revision process, which seemed long and hopeless at the time, went on with few distractions for two years.

Accolades
How can our work be informed by this great author and her masterpiece? The PBS American Masters show turned to renowned celebrities and authors for what Mockingbird meant to them.

• Oprah Winfrey (Producer: The Oprah Winfrey Show, 23 actress credits, magazine publisher): I wanted to be Scout. I was Scout. Mockingbird is one of the first books I wanted to encourage people to read.
• Wally Lamb (I Know this Much is True): Mockingbird is the first book that captured me. It was exciting. I didn't realize literature could do that. I taught the book almost every year for 25 years while teaching high school: the students read the book because they wanted to, not because they had to. It cast the same spell for them as it did for me.
• Adriana Trigiani (Big Stone Gap: A Novel): When I was 12 years old I found the book on the library's book mobile. As different as any Italian can be growing up in the small town of Big Stone Gap, Virginia, feeling like my family came from Pluto, it was the perfect time to read Mockingbird.
• James McBride (Crazy in Alabama): I read a tattered copy in my home in Queens. Mockingbird is the first time a white writer discussed issues of racism that were complicated and sophisticated.

A Rich Legacy for Writers

• Allan Gurganus (Oldest Living Confederate Widow Tells All): The narrator is a grown-up Scout, simultaneously adult looking back and child living in a small town. A difficult feat. Ask any writer: very tough.
• James McBride: Part of why Lee is a great American writer: this child sees the world as an adult, through a child's eyes with an adult understanding.
• Gregory Peck (played the defining role of his career and earned an Oscar as Atticus Finch in the film): Good and evil would never seem as fresh and terrifying as it does when seen through the eyes of a child. It is remarkable for a writer to capture the feelings of a child. Perhaps that's why one book in the last few years has been so warmly embraced by tens of millions of people.
• Mark Childress (Crazy in Alabama): I lived two doors down from Lee's house. That is the reason I'm a writer.
• Rosanne Cash (Singer-songwriter and author): What I got out of the book: The way you behave, whether people see you or not is central to becoming yourself. I remember that [intense] feeling of integrity and sense of conscience.
• Lee Smith (The Lost Girls): Mockingbird still has a galvanizing effect on a young reader. It never ages; is as important today as it was then and remains as relevant today as it did the very day it was written. The characters are indelible for generations of readers.
• Anna Quindlen (author, journalist and opinion columnist): I collected books about insurrectionary, outspoken, non-girly girls: Anne of Green Gables, Joan March in Little Women, and Scout. Scout is a scamp, irresistible, hysterically funny, smart, always has a comeback; always poking at boundaries of good taste and what's proper; doesn't have a mother, childhood in many ways is lonely; struggles how to be in the world.
• Wally Lamb: The language and especially the voice and story take students on a smooth ride.
• Student comments: Helps people see what it was really like. People talk and act differently but they are the same. Inspired me because it showed how one person can change the whole world.
• Alice Lee (Harper Lee's sister): Nell was a gifted storyteller even as a child, with a vivid imagination. She would compose stories and type them up on a beat-up old Underwood typewriter.
• Lee's Own Words: Lee said in her last interview in March, 1964, that she liked writing maybe too much. "I'm a slow worker, a steady worker. So many writers don't like to write. If they must do it, it's under the compulsion that makes any artist what he is. But, they don't really enjoy trying to turn a thought into a reasonable sentence. But I do. I like to write. Sometimes I'm afraid I like it too much because when I get into the work I don't want to leave it."

A final word
A terrific quote by Wally Lamb: [To write a novel] you start with who and what you know. You take a survey of the lay of the land that shaped you. You tell one lie that turns into a different lie and after a while those models become their own people rather than people you originally thought of. By telling lies you're trying to arrive at a deeper meaning.
Reinforced for me: Write what you know; make characters true to life; choose compelling subject matter; craft a great story; keep current societal trends in mind; love the process; be patient, writing as many revisions as it takes.

Now on to the joy of listening to the audio version of Go Set a Watchman, ready and waiting on my desk. Like Lee's story in Mockingbird, my interest is everlasting.

Sources: Most of the information in this post was transcribed and paraphrased from The American Masters profile, "Harper Lee." Other sources include: "http://www.latimes.com/books/jacketcopy/la-et-jc-harper-lee-go-set-a-watchman-mockingbird-20150204-story.html;  http://www.newrepublic.com/article/122290/suspicious-story-behind-publication-go-set-watchman.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 40 articles for adults and children and six short stories for children. Recently she completed Joyce Sweeney's online fiction and picture book courses. She is currently working on several projects for children. Follow Linda on  Facebook.

How to Avoid Exposition in Dialogue

Good dialogue can stick the reader right in the middle of the action.  It can reveal a lot about the characters and help pacing.  But writing dialogue can be tricky.

Today's pitfall is what I call "exposition in dialogue" or "dialogue for the benefit of the reader."  This is when two characters tell each other things they both already know and have no reason to talk about, just to give the reader important information.  It's unnatural and awkward and should generally be avoided.

Example of Exposition in Dialogue:

I'm going to exaggerate a little here to illustrate the point.

Scene:  Lila and Tom are brother and sister, both young adults.  They're together when Tom gets a phone call.  He hardly says anything, and when he hangs up, he turns to Lila.

"John Abernathy's dead."

"No," Lila said, sinking into a chair.  "John Abernathy is our grandfather.  He owned two canneries in Alaska, and I remember how bad they smelled.  Our mother fell out with him and we haven't seen him for ten years, but still, I can't believe it.  We didn't even know he was sick."  

Okay, so most of the examples in our writing aren't this bad, but I see less glaring cases all the time, and it's something we need to watch for.  These two people already know this information.  There's no reason they'd say it like this.

Solutions:

1)  Narrate.

"Grandpa John is dead."

"No," Lila said, sinking into a chair.  John Abernathy was their grandfather, but they hadn't seen him in years, not since he and their mother had fallen out.  They'd visited him once in Alaska, where he owned two canneries.  Lila could still smell the fish if she closed her eyes.  How could he be dead?  She hadn't even known he was sick.

2)  Argue.  Twist the conversation into an argument to give them a reason to discuss it.  Maybe your characters remember things differently.  Maybe they have different ideas about the consequences or the importance or the truth of the background information.

"Grandpa John is dead."

"No," Lila said, sinking into a chair.  "Mom's gonna be sorry now."

"It wasn't her fault they argued.  Grandpa--"

"That's just her side of the story.  We don't know what happened.  And she didn't have to cut him out of our lives completely.  Now we've lost all these years, and we'll never get them back."

"It wasn't exactly as if he was the best grandpa before, hiding himself away in Alaska.  He cared more about his canneries than he ever cared about us."

3)  Reminisce.  Have the characters take a walk down memory lane.  Be careful with this, however, as it can sound forced.

"Grandpa John is dead."

"No," said Lila, sinking into a chair.  "Dead?  He was strong as a bull."

"Ten years ago he was.  But things change."

"Remember the tour he gave us of his canneries in Alaska?"

"He let me chop the heads off the fish.  I thought it was the coolest thing."

"It was disgusting.  And the smell...but he was so proud of everything. I wish he and Mom hadn't fought.  Now it's too late.."

4)  Tell a character who doesn't know.  Bring a third character into the conversation, one who really doesn't know the information.  Use this sparingly, as it can also come across as too convenient and lazy on the author's part.

"John Abernathy's dead."

"No," Lila said, sinking into a chair.

"Who's John Abernathy?" Tom's girlfriend asked. 

"Our grandpa.  Mom's dad."

"I didn't know he was still around.  You never talk about him."

"We haven't seen him for years," Tom said.  "He does fish canning up in Alaska.  Mom had an argument with him a long time ago and wouldn't let us have anything to do with him."

"I'm so sorry."

More examples:

"Captain, if we get a whole in the hull, we'll sink!"

Uh...he's a pretty bad captain if he doesn't know this.

Solution:  be more specific:  "Captain, a whole that big will sink us in less than fifteen minutes." 


"As you know, Jake got married six months ago.  Now I can't talk to him without his wife hanging on his arm."

Solution:  rephrase to build on what the listener knows:  "Ever since Jake got married, I can't talk to him without his wife hanging on his arm."

Final Test:

When you think your dialogue is good, read it aloud.  That's often the best way to hear if something sounds unnatural.

Melinda Brasher currently teaches English as a second language in the beautiful Czech Republic.  She loves the sound of glaciers calving and the smell of old books.  Her travel articles and short fiction appear in Go Nomad, International Living, Electric Spec, Intergalactic Medicine Show, and others.  For an e-book collection of some of her favorite pieces, check out Leaving Home.  Visit her online at http://www.melindabrasher.com.