Showing posts with label writing fiction. Show all posts
Showing posts with label writing fiction. Show all posts

The Ghostwriter and Your Kidlit Manuscript

 


By Karen Cioffi, Children's Ghostwriter, Editor, Coach

To come up with a fiction story idea is pretty cool. Getting notes down or a basic outline takes it to the next level.

At this point, some authors realize they need professional help to bring their ideas, notes, or outlines to life. It’s time to hand it over.

With this scenario, the ghostwriter pretty much has free range.

This is true because the client, the author, can envision the type of story they’d like, but they don’t have any investment in how to get it there.

While there’s an idea or a basic outline, the story needs to be told. The writer can weave her magic and create it, with the authors’ feedback as they go along.

But what happens when there’s a complete manuscript?

What happens when the author has taken the time and effort to come up with an idea and has actually written the story? Whether it’s taken him a few months or a couple of years, it’s his baby. He’s brought it to life.

In this scenario, the author is fully invested in the story.

The problem, though, is the author may not know how to write. And, even more important, she may not know anything about writing for children. It really is a different type of writing – lots more rules.

Thinking of a couple of quick examples:

– The author may own a kennel of dogs and wants to show each dog’s personality in depth. Max is playful to the point of being hyper. Daisy loves being held and likes to cuddle. And watch out for Dutch. This will be problematic for a number of reasons, the most significant would be if it's a picture book.

– The author is a professional and is determined, maybe even obsessed, with driving home what’s good for the child. Each scene tells the child what to do.

– The author has gone on an amazing journey or has a passion and wants to share it with children. He wants it to be fiction, but it reads more like a nonfiction story.

While writing a book based on these examples will satisfy the author, it won’t meet standard children’s book guidelines.


It’s not to say these ideas aren’t good; each scenario can be kindling for an out-of-the-ballpark story … if it’s written right.

Hoping the author/client can let go.

In some cases, rewriting a story can be more difficult than ghostwriting from an idea or basic outline.

Some clients have blinders on. They want what they want, whether it’s reader-friendly or not. They just can’t let go of what they’ve written.

When this happens:

The writer often becomes a writing teacher.

The writer tries to explain why something in the story doesn’t work. Or, it may be even worse, and the entire story is a problem.

She tries to explain the children’s writing rules that all books for children should adhere to.

She hopes the client is reasonable and understands. She hopes the client allows her to do her job.

The writer becomes a negotiator of sorts.

It can become a back-and-forth. The writer resorts to the, “Well, what if we do it this way?”

Unfortunately, the client has blinders on and wants what she wants. So, it’s back to, “Well, what if we do it this way instead?”

The writer just jumps in.

Knowing the story needs to be improved, the writer may rewrite it into a publishable book.

This can be a gamble, though.

It can waste the writer’s time and effort if the client doesn’t like it. Then the writer has to go back to being a teacher and negotiator.

When the writer’s hands are tied.

It can become an ethical dilemma for the writer when the client doesn’t want to budge.

– Does the writer simply write the story the way the client wants even though she knows it’s not professional?

While the writer is being paid to write for the client, this isn’t always the best route to take. Although the writer’s name won’t be associated with the book, it’s a story being worked on and should be as professional as it can be.

But there are some instances when the client just wants the book for personal or family use. In these cases, it’s the writer’s decision. I will take on the project.

– Does she walk away from the project after it’s started?

This is obviously a very individual decision that a professional writer doesn’t take lightly.

While I haven’t accepted projects because I knew they wouldn’t be publishable worthy, I’ve never had to walk away from an ongoing project.

I’ll teach and negotiate until the story is the way it should be. It takes more time and effort, but that’s okay.

Every situation is unique, and the ghostwriter will need to decide what’s best.

ABOUT THE AUTHOR


 Karen Cioffi
is an award-winning children’s author, ghostwriter, editor, rewriter, and coach with clients worldwide.

She also offers:
DIY How to Write a Children’s Fiction Book
Fiction Writing for Children Self-Guided Course and Mentoring Program
Writers on the Move Press (self-publishing help for children’s authors)

You can check out Karen’s published books at: https://karencioffiwritingforchildren.com/karens-books/



Writing a Fiction Story – Walking Through Walls Backstory


It’s always interesting how writers find ideas when writing a fiction story.

Some may simply come up with an idea, others may see something that triggers a story, and sometimes a story is handed to a writer.

I had never thought of rewriting a folktale until being given a rough outline of an ancient Chinese tale, Taoist Master of the Lao Mountain. This was the inception of middle-grade, fantasy adventure Walking Through Walls.

It was June of 2008, and I belonged to a writing critique group along with a nonfiction writer who had a basic outline of an ancient Chinese tale that he wanted to pass along to a fiction writer. Since writing a fiction story wasn't his cup of tea, he gave me the outline.

After reading the outline, I loved the lessons it could bring to children.

Folktales come from all over the world and usually provide morale messages geared toward doing right, rather than wrong. These tales are a wonderful way to teach children through an engaging and entertaining story.

Since the tale, as with many ancient tales, involved an adult as the protagonist the first step needed was to rewrite it for today’s children’s market. This meant it needed a child protagonist.

As I wanted to stay as close to the original tale as I could, I used some of its flavor, descriptions, and names. That’s how the main character’s name, Wang, was chosen.

Along with keeping the story's flavor, I wanted it to be engaging for today’s child, so I came up with new characters, the dragon, enhanced storyline and plot, and so on.

Having an outline to guide me was a great help; it offered a general direction, like an arrow pointing North. So, as I began to rewrite the tale it was able to take on a life of its own, while still heading North. And, to ensure the story kept its flavor, I made sure to include bits of the original story to keep it as close to the tale’s outline as possible.

Working on the story, I knew it needed to take place in ancient China, so decided to use the 16th century as the backdrop for the story.

To add an element of realism to the story, I researched ancient China, including foods, flowers, dwellings, and clothing. I also contacted the writer who gave me the outline for some additional cultural information.

I worked on the story for well over a year, revising it, having it critiqued numerous times, and revising it some more. I even had it professionally edited before beginning to send it out for submissions.

Fortunately for me, the timing coincided with the 2009 Muse Online Writers Conference and I signed up to have a pitch with 4RV Publishing. As nervous as I was, the pitch went well and the manuscript was accepted.

For the next year, it was more revisions, tweaking, additional elements to the story, and editing to make the middle-grade, fantasy adventure, Walking Through Walls, better than before.

Then the story was ready for a cover illustration.

Aidana WillowRaven was assigned to my book and although the dragon in the story was described as “a shimmering golden dragon,” Aidana ‘felt’ the flavor of the story pointed to a more traditional Chinese dragon. We went back and forth a bit about the dragon’s size and shape, but Aidana’s vision of what the dragon should look like was perfect.

Now, the description of the 'golden dragon' in the story needed to be corrected. So, I changed the text to read, “Suddenly a magnificent dragon with shimmering red and silver scales appeared.”

Done. The description of the dragon and the cover matched; we were ready to move forward.

Next came the interior design formatting, which includes the text. After blocking the text it was determined another six pages was needed to make the spine wide enough. So, I had to come up with more content.

As the story was complete, to fill the page count I came up with an Author’s Note page, four pages of Reading Comprehension, an Activities Page, and after more research eight pages of information on the Ming Dynasty time period and the Chinese dragon.

Finally, Walking Through Walls, a middle-grade fantasy adventure, won The Children's Literary Classics 2012 Silver Award.

Writing a fiction story from its inception to publication can take many paths; this is the path Walking Through Walls took.


This story was originally published at:
http://karencioffiwritingforchildren.com/2015/01/21/writing-a-fiction-story-walking-through-walls-backstory/

Karen Cioffi is an award-winning children’s author and successful children’s ghostwriter/rewriter. She is also the founder and editor-in-chief of Writers on the Move and as well as an author online platform instructor with WOW! Women on Writing.

If you’d like more writing tips or help with your children’s story, check out: Writing for Children with Karen Cioffi.

You can connect with Karen at LinkedIn:  http://www.linkedin.com/in/karencioffiventrice





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Writing Fiction for Children - 4 Simple Tips



Writing fiction for children has a number of rules and tricks, the very basics of which are creating believable characters and adding conflict.

But there are many other elements that go into creating an effective and engaging story.

Below are four simple tips to help you navigate the children’s writing waters.

1. Show the way to success

While description and a bit of telling have their place, want you to focus on showing the story. T

he technique for ‘showing’ rather than ‘telling’ is to use your character’s five senses, along with dialogue.

The days of, “See Dick and Jane walk down the lane,” are far gone.

Showing allows the reader to connect with the protagonist. The reader is able to feel the protagonist’s pain, joy, fear, or excitement. This creates a connection and prompts the reader to continue reading.

If you’re stuck, and can’t seem to be able to ‘show’ a particular scene, try acting it out. You can also draw on your own experiences, TV, or the movies. Study scenes that convey the ‘showing’ you need to describe.

There are also wonderfully helpful writing sites like One Stop for Writers.

2. Create synergy

Joining the story together in a seamless fashion is probably the trickiest part of writing fiction.

The characters, conflict, plot, theme, setting and other details all need to blend together to create something grander than their individual parts; like the ingredients of a cake. This is called synergy.

It doesn’t matter if your story is plot driven or character driven, all the elements need to weave together smoothly to create the desired affect you’re going for: humor, mystery, action, fantasy, or other.

If you have an action packed plot driven story, but it lacks believable and sympathetic characters, you’re story will be lacking. The same holds true if you have a believable and sympathetic character, but the story lacks movement, it will usually also fall short.

All this must be done in an engaging manner, along with easy to understand content. 

3. Keep it lean

According to multi-published children’s writer Margot Finke, today’s children’s publishing world is looking for tight writing. Choose your words for their ability to convey strong and distinct actions, create imagery, and move the story forward.

The publishing costs for picture books over 32 pages is beyond what most publishers are willing to spend, so word counts should be well under 1000, and be sure to make each word count. Keep in mind that the illustrations will add another layer to the story and fill in the blanks.

When writing fiction for young children, the younger the age group, the leaner the writing.

This means if you’re writing for toddlers or preschoolers, you should limit your word count to a range of 100 to 250 words.

4. Be part of a critique group

This is a must for all writers, but especially for children’s writers. There are so many additional tricks of the trade that you need to be aware of when writing for children, you’ll need the extra sets of eyes.

Your critique partners will no doubt be able to see what you missed. This is because you’re too close to your own work.

They will also be helpful in providing suggestions and guidance. Just be sure your critique group has experienced, as well as new writers.

Belonging to a ‘writing fiction for children’ critique group will also help you hone your craft.

Use these four tips to help create a synergized story.

What strategies do you use to take your story up a notch?




Karen Cioffi is an award-winning children's author and children’s ghostwriter as well as the founder and editor-in-chief of Writers on the Move. You can find out more about writing for children and her services at: Karen Cioffi Writing for Children.

Check out the DIY Page!

And, get your copy of Walking Through Walls (a middle-grade fantasy adventure set in 16th century China. Honored with the Children’s Literary Classics Silver Award.


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5 Must-Use Tips on Writing a Powerful Thriller


While the title focuses on writing a powerful thriller, these tip are relevant to most other fiction stories also.

In Brian Klems’ Writer’s Digest Column on Writing, I read a great article titled, “The 5 C’s of Writing a Great Thriller Novel.”

Although I’m not a thriller writer, the information in this article is applicable to just about all fiction writing.

There are fundamental elements needed in all fiction to make it reader engaging and friendly. In other words, to make it ‘page turning good.’

The five C’s of writing a great thriller the article mentioned are:

1. Make Your Characters Three- Dimensional

The characters in your story need to be carefully chosen and they need to be three-dimensional. Your hero can’t be ALL good and your antagonist can’t be ALL bad.

Klem’s explains to create “complex characterization” and to “brainstorm a list of at least 10 inner demons your hero has to fight.”

2. The Name of the ‘Fiction Writing’ Game is Conflict

Every story needs conflict. Klems calls it ‘confrontation.’ The hero needs to overcome obstacles to finally reach his goals.

Having the antagonist battling his own demons or righting some wrong that makes his act unethical or even murderous is additional conflict you can season your story with.

You need to create ups and downs and interesting multi-faceted characters.

3. Twists and Turns

‘Careening,’ as Klems puts it, is about creating twists and turns that keep the story from being predictable.

This element of the story keeps the reader on her toes. Klems says, “Part of the fun for readers is thinking a story is going one way, and getting taken completely by surprise.”

4. Make Your Reader Feel
This story element is essential for all fiction, but especially in a thrill. You want your reader to feel what the character is feeling and you want it to read authentic, believable.

You need the reader to be scared or hold their breath with anticipation.

To do this, Klems suggests “recalling an emotional moment in your life, and recreate each of the senses in your memory (sight, smell, touch, sound, etc.) until you begin to feel the emotion again.” He calls this story element, ‘coronary.’

Once you start remembering, you will begin to feel what you did at the time. Then write it down. Write what you felt.

5. The Take-Away (intended or not)

Most writers want their stories to have some take-away value. It could be some kind of moral enlightenment, food for thought, or other tidbit.

The same holds true for thriller writers.

Klems explains that “you ought to spend some time asking yourself what your thriller is really about. Does it offer hope for justice? Does it end with justice denied?”

Another very interesting point Klems brings out is that some writers, especially “aspiring thriller writers,” don’t see the value in thinking about a take-away value for the story. “There’s nothing wrong with this approach, as long as you realize that you will be saying something. Why not be intentional about it?”

This is such a great point. Don’t assume the reader will be content with ending their reading with the thrill and action. Inevitably, they will take something else from the story, possibly something you didn’t intend. At least lead them in the right direction.

There you have it, five tips on writing a great thriller and on writing other fiction that will have the reader turning the pages and coming back for more.

Reference:
http://www.writersdigest.com/online-editor/the-5-cs-of-writing-a-great-thriller-novel

This article was originally published at:
5 Must-Know Tips on Writing a Powerful Thriller (and most other fiction stories)

Karen Cioffi is an award-winning children’s author. She runs a successful children’s ghostwriting and rewriting business and welcomes working with new clients.

For tips on writing for children OR if you need help with your project, contact her at Writing for Children with Karen Cioffi.

To get monthly writing and book marketing tips, sign up for The Writing World – it’s free!

Get your copy of WALKING THROUGH WALLS
(a middle-grade fantasy adventure set in 16th century China)



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Plot and Your Story - Four Formats


Plot. As writers we’ve all hear of this literary term. But, what does it mean?

Well, plot is what gives the story a reason to be. It’s the ‘why’ as to the reason the story exists. Plot is what the story is about. And, if the plot is good, it will entertain and engage the reader. It can even change the reader’s life.

In children’s writing, these stories are usually based on external conflict and action.

Think of Superman fighting his nemesis Lex Luther. Or, Sherlock Holmes and Moriarty. And, the conflict doesn’t have to come in the form a person. It can be battling a flood or a volcanic eruption, climbing Mount Everest, or training a crazy, peeing-all-over-the-place dog.

In his book, “Aspects of a Novel,” F.M. Forster said, “A plot demands intelligence and memory also.”

Examples of plot driven stories include:

- Bovary – through the plot, Emma is driven toward a tragic end.
- Lolita – the plot holds the reader fascinated as Humbert delves helplessly into depravity.
- Great Expectations – through the plot, the reader watches Pip live his life in pursuit of having Estella love him.

These stories hold the reader captive. They drive the reader to turn the pages, to find out what will happen to the characters.

According to Children’s Literature.com, there are four types of plot structure (1):

1. Dramatic or Progress – think of this format as a pyramid.

a. The protagonist starts out okay or is in the beginning of a dilemma – it may be physical or emotional. This is the setup.

b. The obstacles or conflict rise. As each obstacle is met and overcome, another one arises of increasing severity. This goes on to the climax – the top of the pyramid.

c. The climax is the final conflict and has the protagonist giving his all to achieve his goal. It’s win or lose time.

d. Then comes the closing or wrap up of the story. The story descends the other side of the pyramid to a satisfying conclusion.

This is your typical young children’s story structure.

Keep in mind that the scenarios don’t have to be heart stopping action or doom. They can be as simple as a moral dilemma, of doing right or wrong.

2. Episodic – think of this format as a long obstacle course of usually lower impact ups and downs in chronological order. Usually each chapter or section depicts related incidents and has its own conflict climax. The story is connected through the characters and/or the theme.

According to Story Mastery, episodic formats “work best when the writer wishes to explore the personalities of the characters, the nature of their existence, and the flavor of an era.” (2)

3. Parallel – with this format, there are two or more plots. They can be linked by the characters and/or a common theme.

In a recent upper middle-grade book I ghosted, there were three plots connected through characters and the overall plot.

This format can be used for upper middle-grade and young adult stories.

4. Flashbacks – this format provides the reader with flashbacks throughout the story. It allows the writer to begin with an action scene and fill in the ‘why, what, and how’ in flashbacks.

While plot-driven stories are engaging, it’s the stories that combine a good plot with believable characters that the readers can connect to and ‘feel for’ that become memorable. It’s these stories that have the potential to be great.

Reference:
(1) http://www2.nkfust.edu.tw/~emchen/CLit/study_elements.htm
(2) http://www.storymastery.com/story/screenplay-structure-five-key-turning-points-successful-scripts/


Karen Cioffi is an award-winning children’s author. She runs a successful children’s ghostwriting and rewriting business and welcomes working with new clients.

For tips on writing for children OR if you need help with your project, contact her at Writing for Children with Karen Cioffi.

To get monthly writing and book marketing tips, sign up for The Writing World – it’s free!

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Facts in Fiction




Contributed by Valerie Allen

Not all fiction is fictitious.

There will be readers who know more than you do about a person, place, object or procedure. Criticism will be quick and negative if you get factual information wrong in your writing.

Using the Names of Real People

The answer is both, yes and no. Yes, if it is a public figure with a known and accepted reputation. This would include: Jesus Christ, Abraham Lincoln, Martin Luther King, Jr., Bill Gates, Princess Diana, Mother Theresa, and similar persons living or dead.

The answer is no, if it is your mother, brother, neighbor, coworker, classmate, etc. You need written permission to use names of these private people in your writing.

Names of Places

Again, if it is well known or a generic place, you are probably safe to use the exact name. Such places as Las Vegas, The Big Apple, The Grand Canyon, The Rocky Mountains, and so on. Be careful when using trademarked or copyrighted names.

If the place named is specific or you are using it in a negative sense, it may be better to create a totally different name.

For example, you may use Ft. Lauderdale in your murder mystery, depicting it as a high crime city. However, the citizens, Chamber of Commerce, local media, and state governing bodies may take offense. They may discourage readership with boycotts, or limit it from their libraries, protest to the publisher, or bring a lawsuit.

Likewise, do not use the name of your hometown if it has a population under 50,000. The people in small towns may claim your story is libelous, your fictionalized characters are too similar to real people, and your plot too close to reality.

Names of Companies or Agencies

If you are going to write a story about insider trading, do not use the name of a real financial planning firm. If you are going to write about deliberate medical malpractice, do not use the name of a real hospital, medical company, or physician.

If you create a new name, be sure it is significantly different from the original. The words, spelling, and phonics must not be confused with the actual name.

For example, do not use American Air Lines, America Air Lines, or American Aero Lines. Do not use Raymond James Stadium, Ray James Stadium, R. James Stadium, or Raymond James Sports Arena.

There are specific names, which are so common they have become generic, and are usually safe to use.

For example, there are likely hundreds of George Washington High Schools throughout the United States. The same is true of Main Street, Riverfront Park, the First Baptist Church, and The First National Bank.

Names of Things

Careful here. Most objects and brands are trademarked and you must use a general descriptor instead of the band name.

We all know the following items have specific brand names: cola soft drinks, cotton ear swabs, facial tissue, inline skates, copy machine, an American made motor cycle, and so on. Check all of the logos and trademarks before using their specific names in your work.

Check your Facts

When including directions, landmarks, distance or time check for accuracy.

New Hampshire is west of Maine. Palm Beach is about 50 miles north of Ft. Lauderdale. Disney World and Disney Land are two different places, in two different states.

To write good fiction, you must have your facts right. This will educate your reader and give credibility to your work.

Valerie Allen writes fiction, nonfiction, short stories and children's books. She assists writers with marketing via Authors For Authors  with two major annual events in warm and sunny Florida. Meet the Authors Book Fair in the Fall and the Writers' Conference: Write, Publish, Sell! in the Spring. Vendor tables and presentations encourage networking and marketing to increase book sales. Book Display options are available for authors throughout the USA. Valerie loves to hear from readers and writers! Contact her at: VAllenWriter@gmail.com  and AuthorsForAuthors.com



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What Makes a Good Fiction Story? Plot Driven vs. Character Driven

Stories can be plot driven or character driven, so which is the best formula to use when writing a story? Knowing a little about both methods should help in making a decision.

Plot Driven Story

A story’s plot moves the story forward, from point A to point B. It doesn’t necessarily have to be in a straight line; in fact a course that twists and turns is much better. This type of plot creates movement and interest. It’s the twists and turns that will keep the forward momentum fresh, as well as creates anticipation. Anticipation will hold a reader’s attention.

The plot also provides reasons and explanations for the occurrences in the story, as well as offers conflict and obstacles that the protagonist must overcome to hopefully create growth. These elements create a connection with the reader. It entices the reader to keep turning the pages. Without a plot it is difficult to create growth and movement for the protagonist. It might be comparable to looking at a still photo. It might be a beautiful photo and may even conjure up emotions in the viewer, but how long do you think it would hold a reader’s attention?

Along with this, the plot molds the protagonist. It causes growth and movement in the character. Assume you have a timid woman who through circumstances, the plot, transforms into a brave, strong, forceful hero. Where would the story be without the events that lead this timid woman to move past herself and into a new existence?

Character Driven Story

On the other hand, a character driven story creates a bond between the protagonist and reader. It is the development and growth of the character, the character’s personal journey, which motivates the reader to connect. There doesn’t need to be twists and turns, or fire works. The reader becomes involved with the character and this is all the enticement the reader needs to keep reading.

In addition to this, the character works hand in hand with the plot to move the story forward. As the character begins her transformation the plot moves in the same direction.

In some instances, such as short stories, a character driven story can work amazingly well, such as in The Story of an Hour by Kate Chopin. In cases such as this, the connection developed between the character and the reader can be more than enough to satisfy the reader. But, all in all, it seems to be the combined efforts of a well plotted and character driven story that works the best.

The Best of Both Worlds

According to science fiction and fantasy writer, L.E. Modesitt, Jr., “The best fiction should be an intertwined blend of character, plot, setting, and style.”
I agree. All elements of a story working together create stories that will be remembered.

All the aspects of a story should complement each other, should move each other forward to a satisfying conclusion, and should draw the reader in. If you have an action packed plot driven story, but it lacks believable and sympathetic characters, you’re story will be lacking. The same holds true if you have a believable and sympathetic character, but the story lacks movement, it will usually also fall short. As with all things in life balance is necessary, the same holds true when writing a story.

What do you think makes good fiction?

Karen Cioffi is an award-winning children’s author and children’s ghostwriter/ rewriter. For tips on writing for children OR if you need help with your project, contact Karen at Writing for Children with Karen Cioffi.

And, you can follow Karen at:
Twitter  http://twitter.com/KarenCV
Facebook  https://www.facebook.com/writingforchildrenwithkarencioffi/
GoolgePlus  https://plus.google.com/+KarenCioffiVentrice/about


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Tropes in Literature #3: Conveniently an Orphan

If you haven't seen my other posts on tropes, a trope is a common plot device, character type, writing element, etc.  I believe that many tropes are so common because they're popular, fun, and good—except that they've become so overused that they've lost some of their goodness.  These should be treated carefully and creatively.  Other tropes are simply a result of laziness or convenience.  These should often be avoided.

Whatever your opinion of tropes, they're fun to discuss. 


This month's trope:  "Conveniently an Orphan." 
(named by TVtropes.org) 

Advantages of making your characters orphans:

-They can conveniently take off on adventures without any family to tie them down or make them look selfish and irresponsible for doing so.
-They don't have to constantly be interrupting the adventure and action in order to go home and visit their family or watch their niece's ballet recital.
-They don't have a support network already, so they'll need to depend more on themselves and their friends—perhaps new and unlikely friends.
-It forces young characters to solve difficult problems that normally their parents would solve.
-You have fewer characters to write.
-It provides a ready-made tragic backstory. ("My mother was murdered so now I'm a workaholic homicide detective who can't get close to people" or "I'm a delightful, sweet-tempered child who, for some strange reason, nobody has ever loved…until now.")
-It can provide motivation in the vein of, "You killed my father.  Prepare to die."
-The bad guy can't kidnap your character's family members in order to force him to do his will—which would, let's face it, be the logical thing for many bad guys to do.  But your character has no family, so…plot problem solved. 
-Orphanhood tends to go well with various "Chosen One" tropes.
-If the character doesn't even know who his parents were, you have various twist possibilities ("Luke, I am your Father!" or "Oh, I'm actually not a milkmaid but a princess!").
-Readers LIKE orphan characters, perhaps because we identify with the loneliness typified best by orphans, perhaps because we like underdogs, perhaps because it's interesting to think about what we would be like without the influence of our parents and families.  Whatever the reason, orphans in literature are popular.

Disadvantages of making your characters orphans:

-If you're not careful, it can easily come off as a convenient cliché.
-It can come of as lazy.
-It can come off as unrealistic.  True orphans who grow up in horrible Dickens-like orphanages or in the dark side of the foster care system aren't always the sweet, innocent, well-adjusted people they are in old books.  Even true orphans do often have other family:  adoptive parents, biological uncles, cousins, grandparents, etc, and these would still provide kidnapping fodder for bad guys.  Some of this family might also be people your character could—and would—phone in a crisis.  So be careful not to write as if your characters grew up in a vacuum, even if both their parents have been dead for many years.

Where this trope appears:

The "Conveniently an Orphan" trope is VERY common in fantasy and science fiction, especially if you count characters who still have one parent alive:  Lord of the Rings, Harry Potter, Star Wars, The Belgariad, the Discworld novels, The Black Cauldron, half the fairy tales you can think of (though they may have one parent), The Wizard of Oz (though she has adopted parents she loves), The Hero and the Crown (still has a father), the Hunger Games (still has a mother).

Many other more mainstream books and classic works of literature also have orphans or characters with only one live parent.   Victor Hugo, Charles Dickens, Jane Austen, Louisa May Alcott, George Elliot, and various Brontes certainly partook.  James Bond is an orphan.  It's also common for the detectives in mysteries (especially TV crime dramas).  You'll see it sometimes in romances and women's lit and other genres.

And, of course, it's essential for sweet orphan stories like Anne of Green Gables (and Montgomery's Emily of New Moon), Annie, The Secret Garden and A Little Princess, Little Lord Fauntleroy (only one dead parent), Jane Eyre, A Series of Unfortunate Events, Heidi (though with a loving grandfather), The Boxcar Children, Pollyanna,  etc.  These are all great books, but you'll need a pretty original slant or some particularly compelling characters if you're going to do it now. 

For my previous trope posts, click below:
Tropes in Literature #1:  Mr. Exposition and Captain Obvious
Tropes in Literature #2:  This is My Story

Melinda Brasher is back in the United States after spending two more years in the Czech Republic among castles and forests and hiking trails.  Her most recent sales are to Ember and Double FeatureVisit her online at http://www.melindabrasher.com.

Tropes In Literature #1: Mr. Exposition and Captain Obvious

Tropes are common themes, plot elements, or literary devices so popular they've often become cliché.  Some people hate them.  Some editors will throw your manuscript in the trash the moment they see a trope they're tired of.  Others will reject it because it doesn't follow a popular pattern.   People like Terry Pratchett make an art of purposely employing too many tropes, to hilarious effect.  The thing is, clichés become clichés for a reason:  we LOVE certain story elements, and don't mind if we see them over and over again.  Entire genres are built on well established tropes that readers not only tolerate, but expect.

Tropes:  Use Them or Not?


My opinion:  be aware of the tropes of your genre, then go ahead and use the ones you like, the ones that serve your story, but play around with them.  Make them your own.  It's true that, when you boil everything down, there aren't a whole lot of truly unique stories.  It's the way you tell it that makes it unique.   

I'll be featuring individual devices and plot elements here in my Literature Tropes series, but if you want to get lost for an hour or two, visit tvtropes.org, where you'll discover all sorts of familiar tropes with clever names like "Dark Lord on Life Support" or "Conveniently an Orphan."

Mr. Exposition  


This trope involves a character who exists only to explain a plot element, an important scientific or magical law, an aspect of a foreign culture, etc. to the protagonist.  Often it's actually for the benefit of the reader, not the protagonist, who should know it already.  Think of all those TV detectives explaining forensic procedures to each other.  I call this "exposition in dialogue," and it's awkward if all characters in the conversation already know everything they're saying, yet they say it anyway.  As a writer, you should think of a more natural way to get the information across to your reader.  If you want some specific alternatives, read my post on Exposition in Dialogue.  Employing Mr. Exposition occasionally—for information the characters really don't know—can be useful and efficient.  And if it's ingrained enough in the character's personality, it can really work.  Think of Star Trek's Data or the immortal Sherlock Holmes.

Captain Obvious


We've all had visits from Captain Obvious in our real lives.  In writing, he's that character who says something that not just the characters but the reader should also clearly know.

Example:



You can sometimes make brilliant use this for emphasis, or with a sarcastic character, but be careful otherwise. 

Captain Obvious also likes to repeat in dialogue what has already been narrated.  Picture a vividly written scene where two people are tied to the tracks and blinded by the light of the oncoming train.  Then one character says, "Hey, there's an oncoming train!"  This may be perfect for comic effect, but avoid it if it's not meant to be funny.

Be Aware

Remember, tropes aren't necessarily good or bad.  It's how you use them.  Being aware of some of the most common ones will help you make conscious decisions about using them, twisting them…or cutting them.


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 NomadInternational LivingElectric SpecIntergalactic Medicine Show, and others.  For an e-book collection of some of her favorite published pieces, check out Leaving Home.  For something a little more medieval, read her YA fantasy novel, Far-KnowingVisit her online at http://www.melindabrasher.com.

NANOWRIMO 2015 word count as of today, November 3:  6307 words

Your Character's Smirking...or Is He? Synonym Pitfalls.

This is a smirk.
And from what I know of this character,
he probably just kissed his brother's girlfriend
or killed someone's best friend.
Not a nice smile.
I've been running into a problem lately:  characters I otherwise like are constantly smirking.  I'm reading the third book now where this word appears in conjunction with friendly amusement, tenderness, or affection, and if I were sitting down with the authors, I might not be able to resist quoting The Princess Bride:  "You keep using that word.  I do not think it means what you think it means."

To Smirk or Not To Smirk

To me, a smirk is cocky, smug, or cruel.  At the very least, it's a teasing sort of smile, or a "hah!  I got you!"  Smirking is what the bad guy does as he pulls one over on your hero, not what your hero does when he tells the heroine that he loves her.

But after so many counterexamples, I thought maybe I had my definition wrong.  So I looked it up.

Oxford:  "to smile in an irritatingly smug, conceited, or silly way."

Merriam-Webster:  "to smile in an unpleasant way because you are pleased with yourself, glad about someone else's trouble, etc."

Apparently back in the day it used to mean simply "to smile," but we're not back in the day, and even if you're writing historical fiction, it's a dangerous game to use an old definition of a word that now has quite a different meaning.

Other Smiling Words

I've come across the same thing with grin.  To me, a grin is a big, face-scrunching smile, usually silly, mischievous, humorous, or teasing.  It's not the kind of thing you usually do in, for example, a sentimental or bittersweet moment.

Laughing Words

Synonyms for 'laugh' can cause problems too.  If your tough manly man giggles, that's interesting characterization.  Maybe he's really a little girl at heart.  Maybe he gets nervous easily in unfamiliar situations.  But you'd better mean it if you use it.  If a character guffaws at something that's not so funny to the reader, you might lose credibility.  Unless, of course, over-laughter is part of his personality.  Again, great characterization--but only if you mean it that way.

Walking Words

I read a book where no one walked anywhere.  Instead, everyone paced.  They paced to the door, paced across the street, paced to each other.  And I don't think they ever actually walked back and forth, which is what I think of as pacing.  It was almost as if the author had been told not to use "boring" words like 'walk.'  This author also rarely wrote 'small' or 'little,' replacing them instead with 'minute.'  By the end, I was almost throwing things at my Kindle and yelling, "Stop pacing, you minute boy!"  

There are many, many sort-of synonyms for walk:  stroll, stride, saunter, amble, trudge, plod, hike, tramp, march, stride, wander, ramble, tread, promenade, roam, traipse, take the air; advance, proceed, mosey, perambulate, etc, etc..

They all mean different things, and most can be good--in the right place.  But if you start using one over and over--especially if it conveys the wrong meaning, you risk annoying your reader.  And don't ever use "perambulate" unless you mean it to be funny.  

Looking Words

Gaze, glance, gape, stare, peer, peek, watch, examine, inspect, scan, scrutinize, consider, observe, ogle, espy, etc., etc.

Again, most can be good in moderation, but the current book I'm reading had a line like this:  "He glimpsed up quickly."  No...to glimpse is to catch a quick look at something, usually before it disappears or you move past it.  You can't glimpse up.  Then there was this:  "He glanced one eye over his shoulder."  'Glance' is intransitive (has no direct object).  You can't glance something.  You have to simply glance.

'Said' Words

Don't even get me started.  Maybe I'll explore this subject next time.  I'll just say now that if you use a dialogue tag like "admonished" or "theorized" more than once or twice in a book, reconsider.  And if you insist on using lots of unusual synonyms for 'said,' make sure the meaning really fits the dialogue.  Don't just use a word you randomly pointed at on your "synonyms for said" cheat sheet.

Using Synonyms (plying, wielding, manipulating...)

Just because there is a synonym doesn't mean you should automatically use it, just to cut repetition or avoid "boring" words.  Be sure that the synonym means what you think it means and that it won't make your reader think you're joking.  (Ascertain that the synonym signifies what you postulate that it betokens and that it will not induce the peruser to opine that you're jesting.)  And generally only use words that are in your active vocabulary.  Else the danger is too high that you'll misuse them.

Obviously, styles differ, and if yours is more flowery, more of these types of words might fit.  Sometimes you can play with definitions and stretch words for creativity's sake.  But you have to do it intentionally...and carefully.

How to Avoid the Issue

Perhaps the real problem is that we often write too many of these types of words to begin with.  A critiquer friend of mine calls them "stage directions":  all the looking, laughing, nodding, smiling words.  Maybe it's best to simply cut down on them altogether.  Then we won't have to rely on innacurate or laughable synonyms.


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 NomadInternational LivingElectric SpecIntergalactic Medicine Show, and others.  For an e-book collection of some of her favorite published pieces, check out Leaving Home.  For something a little more medieval, read her YA fantasy novel, Far-KnowingVisit her online at http://www.melindabrasher.com.

Multiple Points of View: Good or Bad?

POV (Point of View), is an topic that could fill whole blogs.  My question today is this:  What do you think of multiple POVs in a novel?  I'm not talking about head-hopping (seeing into multiple characters' heads in the same scene, jumping from one to the other as convenient).  I'm talking about telling one chapter or scene from one character's POV and then using a different character's POV for the next chapter/scene.

In my YA fantasy novel, Far-Knowing, I divide each chapter into 2-4 clearly marked sections which alternate between two characters' POVs (with a third making a few appearances).  The two main POV characters are two young apprentice mages, both young women, but with different backgrounds, skills, aims, and opinions about the world.  And they don't particularly like each other.  I loved writing the story from both points of view because it showed how the world is more gray than black and white, and that two people can interpret the same event completely differently. 


I've read quite a few books told from multiple points of view, including one of my favorite YA fantasy trilogies, Hilari Bell's Farsala, and a little one you may have heard of:  Game of Thrones.  


It's interesting to me, however, how divisive the style is.  Look at a couple of reviews of Far-Knowing:


"I normally don’t like stories that switch a lot from one point of view to another, and back again. There have been rare cases where I did end up liking them, in spite of multiple POVs --- but this book is the first time I remember finishing a book and thinking that the multiple points-of-view not only failed to detract from the story, but also made the story better. From the perspective of someone like me who is biased against that practice, this is quite a testament to Melinda Brasher’s skill as a writer. It’s terrific."
-from a 5-star Amazon review
Vs.

"But for me this book had a major problem, and this was the manner in which it jumped from one character's point of view to another character's point of view. Many times, just as I was getting into the story, the point of view changed, and I had to reestablish the context. Some readers don't mind this kind of style, so I think many readers will enjoy this book more than I did."
-from an otherwise positive 3-star Amazon review

And these:

"The characters were well developed and you really got to see into Kalli and Ista's minds. I do however think that the POV switches came too frequently. I would've preferred the format to be different, but it wasn't too distracting."
-from a 3.5-star review

"I absolutely loved the changing perspective of different points of view of individual characters. Things aren’t exactly as they seem to be. Very true."
-from a 5-star Amazon review

Out of curiosity, I just looked at reviews of Game of Thrones that mention point of view (8 POV characters, by the way), and most say that it adds so much depth, that we really get to know all the POV characters, that it brings the story to life, that it shows how even the bad guys can justify their actions and aren't all bad.  Several mention that they thought it would be confusing or unnecessary with so many POVs, but that it worked.  Several say it WAS confusing at bits but it was worth it.  A few have warnings that the multiple POVs may put off readers looking for a simple tidy read.  

So, what do you think?  Have you ever written anything in this style?  Do you have any examples of books you love (or don't love) told like this?  When you read one, do you find yourself hurrying through one or more POVs to get to your favorite character?  I'd love to hear in the comments.

And to see for yourself what you think of the POVs in Far-Knowing, Farsala (Fall of a Kingdom), or Game of Thrones, click the links below.


Far-Knowing, by Melinda Brasher
Fall of a Kingdom (Farsala #1) by Hilari Bell
Game of Thrones by Geroge R.R. Martin

Melinda Brasher loves casual hiking, taking photos of nature, playing in the shallow little river that runs through her Czech town, and hanging out at home writing.  Her short fantasy story, "Chaos Rises" is now FREE on Amazon (and everywhere else).  Her microfiction (38 words) recently won honorable mention in On the Premises' Mini Contest #25.  Read "Dusk" for free here.  Or visit her online at www.melindabrasher.com


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.


Researching Historical Fiction, From Beginning to End

By Karen Mann

Researching to write historical fiction is interesting and even exciting. The first thing to consider is going to the location of the novel and walking the streets your characters walked. Interview people. Go to the library there. Take time to find out how that place sounds, feels, tastes, looks, and smells.

However, when writing my novel The Woman of La Mancha, I was unable to go to Spain or even more specifically, I was unable to go to sixteenth-century Spain, yet my readers tell me I have made that time period vividly alive. How was I able to do that? Through extensive library and online research.

To begin, get a general overview of the time period. I started by reading one book about the time period. From that beginning, I understood the kinds of things I needed to research. My next stop was a weekend at university library. I made a lot of copies (2 bankers’ boxes full). Then went home and read and read.

Today, online research may be the first thing to do. Organize your bookmarks so you can easily find the pages where you find information. Be discerning about your online research to be sure you feel it’s accurate. Often you can find books or chapters of books online. Through libraries, you can access databases which may have even more accurate and detailed information than webpages. Remember the stacks at the library when you went to college? Nearly all those books and magazine are available online now. Consult your local library to find out how to access them.

Organize your notes by category: costumes, food, religion, government, farming, education, healing, illnesses, family life, architecture, household furnishings, hunting, music, art, literature, and more. Don’t leave any stone unturned; you need to have the entire picture of that society so you can write specifically about it.

You don’t have to write down everything you read. You are going to begin to get an overall picture of what that time period was like. You’ll be able to imagine yourself there and you’ll be able to imagine your characters there.

But there are details you will want to keep handy for reference. To keep that information handy, find a system that works for you to find the information you need when you need it. It might be something as simple as a spreadsheet. Type or paste information in worksheets with appropriate titles so you can find what you are looking for. Or your system might be a more elaborate software program or actual pieces of paper in a file cabinet. 
The more you research, the more you’ll have an idea of what you know (you know how they dressed in the eighteenth century) and what you don’t know (you don’t know how they prepared their food), so you can focus research on those topics to fill in the blanks.

Over time I assimilated everything. Nothing went to waste. It was as if I were sitting there while I wrote.

What is the key to incorporating the information in your writing? Find the most interesting tidbits. Don’t repeat facts by rote; adapt what you’ve read to your writing. Sometimes it’s only a word from that period, or the name of a particular cloth, a particular kind of chair or weapon. Maybe it’s how you make a porridge or ale or how you bake bread. Maybe it’s the flowers that bloom in the spring or how a harpsichord sounds. Bring each tidbit alive through evoking the senses or recreating specific and vivid scenes. Research informs your writing. Use it wisely and bring your writing to life.

Karen Mann is the author of The Woman of La Mancha and The Saved Man. She is the co-founder and Administrative Director of the low-residency Master of Fine Arts in Writing Program at Spalding University and managing editor of The Louisville Review, a national literary magazine since 1976. Having lived in Indiana most of her life, she now lives in San Jose, California. See more about her books at www.karenmannwrites.com.

About The Woman of La Mancha:

The Woman of La Mancha, a companion book to Don Quixote, tells the woman’s story of Don Quixote by recounting the story of the girl he called Dulcinea, the woman he loved from afar.

It’s 1583. An eleven-year-old girl wakes in the back of a cart. She has lost her memory and is taken in by a kindly farm family in La Mancha. She adopts the name Aldonza. She doesn’t speak for quite some time. Once she speaks, there is a family member who is jealous of her and causes a good deal of trouble, even causing her to be forced to leave La Mancha in tragic circumstances. Having to create a new life in a new location and still unaware of her birth family, she adopts the name Dulcinea and moves in the circles of nobility. While seeking her identity, she becomes the consort of wealthy men, finds reason to disguise herself as a man, and learns herbal healing to help others.

There is a parallel story of a young man, Don Christopher, a knight of King Philip and the betrothed of the girl, who sets off on with a young squire, Sancho, to find the girl. Christopher’s adventures take them across Spain and force him to grow up. Does he continue the quest to find his betrothed or marry another and break the contract with the king?

Both young people have many experiences and grow up before the readers’ eyes. Floating in and out of each other’s paths as they travel around Spain, will they eventually find each other and be together?

~~~~~
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