Relating to Your Reader with Tal Yanai

You sit down to write a book when you feel passionate about something, having the desire to share it with others. So writing a book, in part, is the art of building relationships with people you don’t know, and who have no idea you even exist. Well, it’s not that bad, just makes the process a bit more challenging, and in the long run, makes you a better writer.

The process of relating to your readers starts with understanding your audience. After deciding on a targeted audience, ask yourself what do you know about them? For example, you decided to write a self help book for teens (hi, just like me….), what do you know about them? What do their daily activities look like and what motivates them to do or not to do things? What problems do teens face and what make them feel exposed and vulnerable? Once you have a good understanding of the issues, you positioned yourself as someone who can provide good answers.

Based on your understanding of the audience, you will be able to connect on issues that matter to them most. For example, showing you understand the emotional and moral dilemma teens experience when feeling obligated to do something as a result of peer pressure, will build your credibility and help the young readers stay open minded as they continue reading. In general, connecting with readers on the emotional level is a good way of bringing them into the story. You can bring back memories by providing details most readers would find easy to relate to. Most readers will be able to relate to your story when they read about what a teenager feels being in a summer camp and away from home. The images you will create in this part of the story will trigger an emotional memory for most of them. Almost anyone will think, “Oh yeah, I remember….” The period time of uncertainty, being away from the parents but still having a wonderful time with old or new friends can be used to open many emotional doors. If you write a Self Help book, for example, you can use this background to show that the character in the book, despite hesitations at first, was able to experience something new and exciting, and the same is possible for the readers, if they only gave it a chance.

Details bring your story alive; however, sometimes you are better off staying with more general descriptions, so not to lose a large part of the audience. Let’s say you decide to write a book about sport fans and spend too much time focusing on baseball, you might lose readers who like basketball better. Instead, you could describe in details experiences all fans have in comment, such as the excitement driving into the game, entering the stadium and the electricity in the air when the home team enters the field. Everyone who ever went to a ballgame would relate to your story, even if the background is a baseball field and not a basketball court.

Finally, be yourself! Your readers already read books about sport, self help, cooking, or home decorating. And they don’t mind reading another one! Let your creative inner voice lead your writing and find interesting angles to the story. This inner voice is there wanting to express itself for quite some time now. Find it, listen to it, create with it, and the readers will relate to it.

Meet Tal Yanai: During his formative years, Tal Yanai was not happy with his reality. What he was creating in his life was not in alignment with what he wanted in his heart or what he knew and deeply felt was possible.

For two years he worked as an historical analyst at the Survivors of the Shoah Visual History Foundation, established by Steven Spielberg after the filming of Schindler’s List. As part of his job, he listened every day to testimonies of Holocaust survivors. Many were children or teenagers during WWII and their stories greatly influenced Tal’s decision to become involved with educating youth, so he proceeded to get his Teaching Credential in Social Studies.

Bringing two wonderful children into the world gave him a new sense of urgency to share and teach everything he’s learned about God and spirituality. Today, Tal teaches Hebrew and Judaic Studies in Temple Beth Hillel in the San Fernando Valley as he continues his quest to explore the meaning of soul and achieve his full potential as a spiritual teacher.


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Self Publishing Your Poetry – A Brief Primer (and a few pitfalls)

Self-publishing is an option open to everyone and it’s becoming easier and more powerful with different software and online options becoming available all the time.  Why would you want to self-publish?  Here are a few reasons:

  

There are no entry barriers. You don’t need a list of publications or any kind of awards to be considered, and your work can be on any topic. You retain complete control over the look, quality, and promotion of your work.

You retain a far greater profit for your book.  

You learn a lot and it can be quite fun if you enjoy playing around with your computer and trying out new things.  Although the learning curve is steep (more about that soon), your learning belongs to you - you can apply it immediately and improve what's already out there.

But self-publishing isn’t all roses.  You’ve got to do everything yourself and it’s hard work.  You’ll have to learn about formatting, about graphics, about designing a cover, about ‘bleeds’, about document conversions, about distribution channels, about Amazon and other online stores and the list goes on and on.  If all you want to do is write, then self-publishing is probably not for you (and believe me, it will take time that you would otherwise have been spent writing).  

The biggest pitfall in self-publishing is that you don't automatically get a professional editor like you do with traditional publishing.  Because this is an area that should never be skimped on, if you do decide to save money by not bringing in a professional, you may end up producing a sub-standard quality book.  A book full of mistakes is not only unprofessional, it can render a book almost unreadable, and will tarnish your name as a writer in general.  There is already a bias against self-published books and this is the key reason.  So if you do decide to self-publish, obtaining a high-quality editor has got to be the first priority and that may require some outlay upfront.  If you really can't afford a professional then you must bring in someone else - someone picky and meticulous.  This isn't an option.

How do you self-publish? The easiest way is to just add a cover and copyright information to your book and save as a .pdf file.  Lo’ and behold you’ve now got an ebook which you can sell from a website or blog.  When you do this, 100% of your sales are profits, but you may not get many sales!  

Or you can send your digital book to one of the big copy houses like Snap printing or Qwikcopy and have them print out what you need when you need it.  You can hand print and staple your work too, although it won’t be very professional looking. 

You can also go with one of the print on demand companies, who will produce a professional looking product for nothing, but take a cut of each sale.  Many of them will also provide you with a barcode and ISBN.  You probably won’t make much, but the book will be attractive, and often you can buy copies inexpensively and hand sell, which is probably the best way to sell poetry.  Some of the more well known print companies include:

CreateSpace:  this is Amazon’s own publishing house and to my mind, it’s one of the best.  It will take you a while to learn their particular formatting requirements, but everything is .pdf based, fairly straightforward, and they’ll give you all the templates you need.  The one key advantage this one has over the others is that your book will be sold on Amazon once it’s complete.  Also their prices are pretty reasonably, and I suspect will set a trend that others will quickly follow. 

Lulu: Self publishing / print on demand publisher. Very popular. You can sell your book directly from their website. 

Cafe Press - Self publishing / print on demand publisher. Also popular. 

There are plenty of others out there and new opportunities opening all the time, but bear in mind that none of them will edit your work, and few of them will help you design and develop a professional cover, not to mention helping ensure that your poetry is pulled together in a manner best suited to it.  

You probably won't get rich selling poetry no matter what you do, which is part of the reason why it's hard to find a traditional publisher, especially if your work is unusual, experimental, or controversial.  But self-publishing your work is not difficult and it can be a fun way to begin learning about and developing your author platform - getting your name and your words out to the public.  

Magdalena Ball runs The Compulsive Reader. She is the author of the poetry books Repulsion Thrust and Quark Soup, the novel Sleep Before Evening, a nonfiction book The Art of Assessment, and, in collaboration with Carolyn Howard-Johnson, Deeper Into the Pond, Blooming Red, Cherished Pulse, She Wore Emerald Then, and Imagining the Future. Find out more about Magdalena at http://www.magdalenaball.com

Get to Know Your Character

By Dallas Woodburn

Once upon a time, Peter Pan was just a faceless name. Before The Lord of the Rings, Frodo was merely an image inside Tolkien’s mind. When I was in elementary school, nobody had heard of Harry Potter.

Kind of hard to believe, isn’t it? As readers, we often get so attached to our favorite characters that it can be difficult to remember they aren’t real beings but rather figments of an author’s wonderful imagination brought to life on the page. Indeed, I believe one of the most important aspects – if not the most important aspect – of a good story is its characters. The characters are the ones who bring the reader inside the story – and keep her turning the pages to the final sentence. Characters are the ones who make the reader feel like he has a stake in what happens.

How can you create interesting, memorable characters who feel like real people? Get to know them yourself! YA author Joan Bauer once told me she writes 30-page biographies of all her main characters before she even starts writing the book. Now, I’m not saying you need to write a 30-page biography, but you can at least spend a few minutes interviewing your character and getting to know him or her better.

Below are some possible questions to answer in the “voice” of your character. These are just to give you ideas – feel free to jump off into answering your own questions! See where the “voice” of your character takes you!

My name is …
I am ___ years old. My birthday is ____.
I live in …
I like to …
My favorite color is …
My favorite food is …
My favorite type of music is …
My favorite movie is …
My favorite animal is …
My best friend is …
My secret hideout is …
I dream about …
I am obsessed with…
My greatest fear is …
My greatest wish is …
If I had a super power, it would be …
I love …
Something that makes me really angry is …
I worry about …
One day, I hope …

As you get to know your character better, you might find a story developing. Some ideas to get you started:

My happiest memory is …
My saddest memory is …
My most embarrassing moment is…
My favorite holiday has always been…
Last summer, I …
I was terrified when …
My life changed forever when …
The last time I cried was …
One time, I lied about …
I couldn’t believe my eyes when …
I never, ever thought I would …
I knew I was in trouble when …

Do you have any other questions you ask your characters? Share them with other writers! Email them to me at dallaswoodburn@aol.com and they might be posted on my blog, http://dallaswoodburn.blogspot.com.

Bio: Dallas Woodburn is the author of two award-winning collections of short stories and editor of Dancing With The Pen: a collection of today’s best youth writing. She has written more than 80 articles and essays for national publications including Family Circle, Writer’s Digest, The Los Angeles Times, and the Chicken Soup for the Soul series. She graduated from the University of Southern California with a B.A. in Creative Writing and is currently pursuing her Master’s degree in Fiction Writing at Purdue University, where she also teaches undergraduate writing courses.

Website: http://www.writeonbooks.org
Facebook: http://www.facebook.com/writerdallas
Twitter: http://www.twitter.com/dallaswoodburn

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Shore Up Your Sagging Middle

Writing is a lot like building a bridge. Each scene serves as scaffolding or supports for your entire story to rest on without sagging.

Maybe you’ve made a great start. You have a dynamite hook (some of my favorites: “The last camel collapsed at noon.” Ken Follet, and “The man with ten minutes to live was laughing.” Frederick Forsyth). You’ve gotten off to a good strong start. Maybe you know how your book is going to end, and even have the final scene written.
Now, how do you get through the middle part without it sagging and possibly collapsing?

First of all, you don’t need to write chronologically. You can write scenes out of order. Pick out some highlights and write those scenes, then see if you can figure out what you might be able to fill in between A and G.

Now, send your inner “nice guy” out for ice cream and figure out just how mean you can be to your character. Conflict is the key to keeping a story moving, to shoring it up. You’ve introduced your character and the problem she has to solve. You know what the goal is at the end.

Let’s say Cathy Character wants to be the first teenage girl to climb Mount Huge. What are her obstacles? Her parents are against the idea. It’s too expensive, too dangerous, she’s not in shape, who else is going, etc. Cathy has to overcome each objection, solve each problem.

Maybe her neighbor is a banker, so she approaches him for a loan. If he smiles and says,” Sure, Cathy, anything for you,” the problem is solved too quickly. The story can get boring and the reader’s interest will sag quickly.

But what if he says no? Now Cathy has to figure out another way to raise money. What should she do – a bake sale, a part-time job, rob the local drive-in? (You can see the various paths this story could take.) There are all kinds of ideas and none of them should be easy.

Every time your character figures out a way over, around or through a problem, throw up another obstacle, within reason, of course. You don’t want her to fail at everything.

But when she solves the money part of the problem, there should be another one waiting. Who, besides her parents, are going to oppose her? Does she have a rival? Or is there a friend who is supposedly helping her, but is actually sabotaging Cathy’s efforts?

Building a story is like constructing a bridge. You need conflict as the pillars that shore up the middle.

For each scene you write, ask yourself:
• What is the purpose of this scene?
• Does it move the story forward? (What if I take it out? Does the story flow well without it?)
• Can the reader identify with the character’s problem and struggles?
• Have you created suspense? (Will the reader want to keep reading to find out how your character solves this one? What’s at stake for him/her?)
Have fun being mean to your character and building your bridge!




A native Montanan, Heidi M. Thomas now lives in Northwest Washington. Her first novel, Cowgirl Dreams, is based on her grandmother, and the sequel, Follow the Dream, has recently been released. Heidi has a degree in journalism, a certificate in fiction writing, and is a member of Northwest Independent Editors Guild and Pacific Northwest Writers Association. She teaches writing and edits, blogs, and is working on the next books in her “Dare to Dream” series. Please visit her website and blog at http://www.heidimthomas.com

Personality Tests for Character Development?

Character development has always been difficult.  If readers cannot fall in love with, feel empathy for, identify with or, on the other hand, hate, be repulsed by, or fear your characters there is little investment for finishing your work. Who couldn’t identify with Harry, Ron and Hermione? I the strength of their personalities that attract readers young and old, male and female, from all socioeconomic groups and all ethnicities. 

One of the best tools for creating interesting, believable and multi dimensional characters is the Myers-Briggs Type Indicator (MBTI).  Taking the time to learn how to effectively use this tool can be invaluable. 

Do you want your character to have an “out there” personality or one that is more introspective and reserved?  Do you want him to be an idea man or the realistic, this is the way it is kind of guy?  Is your heroine the strong, no nonsense, take charge type like J. D. Robb’s character Eve Dallas or more stereotypical female?  Do you want a character that is goal oriented, time sensitive and orderly or more fly by the seat of the pants, flexible and spontaneous? 

When you have an understanding of personality type and how it influences everything from how a person socializes to how she makes decisions, the possibilities for creating believable, intriguing characters that readers want to get to know are endless.

So check out www.capt.org, or www.personalitypage.com, contact a local mental health professional, or go to the library. 

First learn about yourself, then apply that knowledge to your characters.   

Good Luck!

By: Dr. Anita Tieman

Dr. Tieman worked with Martha Swirzinski to write 3 children's books. 

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Are You a Pantser?

You're a pantser if you use seat of the pants story telling, or writing without benefit of an outline. The real question is whether this is a good trait, or whether you should immediately abandon the practice.

There are two schools of thought on the issue. On one side you have Chris Baty's No Plot, No Problem. This philosophy drives the concept of Nanowrimo with it's thousands of writers working to finish a novel each November. Stephen King in On Writing suggests something similar. If you have a great idea, just start writing and see where it takes you. One could argue that much of what happens in Nanowrimo, while good for the individual isn't publishable. However, no once can argue that King isn't a great story teller.

The other side of the argument states that you're basically wasting your time if you don't structure your story and use at least a rudimentary outline. Larry Brooks in Story Engineering states that you need to structure your story in a series of plot points, basically conforming to the quarters of the story, so that you continually draw the reader forward. This is essentially the format used in screen writing.

So what's right. Recognizing that few of us can compete with Stephen King, should we outline before we write? Personally, I think a writer should use whatever method makes him or her comfortable. I can see drawbacks with either mode. If you're a pantser, you may end up rewriting to make your story conform to a plot line. On the other hand, if you plot too tight, you may miss character interactions that would make your story special.

So what's the advice? If you have a good feel for story arc (and Stephen King is apparently one of those writers.) you may do your best work by having the idea and letting your characters tell the story. If you find yourself muddled about a third of the way through the story, not sure of where to go, I'd suggest outlining and trying to fit your story to major plot points.

Whatever kind of writer you are pantser, outliner, or a combination, keep writing. You will find the mode that's most comfortable for you and find that what you write is salable.


Nancy Famolari
Website: http://sites.google.com/site/nancyfamolari/Winner's Circle available from Amazon.com 

Internal and External Conflict

By Stephen Tremp

"The harder the conflict, the more glorious the triumph” - Thomas Paine

Authors love to incorporate conflict not only into their stories, but into the very fabric of their characters. It is conflict that drives the plot forward and engages the reader. The more adverse the conflict is, or a state of opposition, the more rewarding the victory is to the overcomers.

According to Gillian Roberts in You Can Write A Mystery, the fundamental element of all drama is conflict, a clash between good an evil. Life vs. death. Law vs. disorder. There are internal and external conflicts and personality conflicts with people of different goals, hostile witnesses, uncooperative employees, or frustrating red tape. Murder is often the “crime of choice” as it is the ultimate offense and “therefore produces the most absolute and unequivocal conflicts.” But conflict can manifest in numerous other less-violent forms, as long as it wrongs the accepted norms of a society or individuals. Gillain suggests the two sides of conflict be equally weighted (easier said than done). The protagonist should be the mental equal of the antagonist. Otherwise, it’s an unfair fight or a rout rather than a difficult quest and the tension would be reduced.

Internal conflict, or the conflict that takes place within the mind if a character, and external conflict, the struggle against some outside force, can be deciding factors as to what separates a good story from a great story. The protagonist has to meet a challenge and conquer it. But it’s hard if not seemingly impossible. He’s repeatedly foiled time and again along his journey, but must press forward. There is also conflict between individuals and their interactions, whether they are friend or foe. Characters can have differing goals. There can be hostile witnesses or frustrating beaurocracy and red tape.

Conflict also offers the author the opportunity to weave into the plot twists and turns that will keep the reader up late at night, turning the pages. When the protagonist, antagonist, or other characters overcome a seemingly insurmountable obstacle, the author can take advantage of the opportunity to bamboozle the reader by shifting the plot and make an unexpected sharp left or right turn.

Utilitarianism, or conduct directed toward promoting the greatest good for the greatest number of people, provides an excellent opportunity for an author to implement the element of internal and eternal conflict. Throughout history, men and women in positions of authority, during exceedingly excruciating circumstances, have had to make utilitarian decisions that affect countless lives and history itself. During World War II, Allied decision makers had to sacrifice entire towns and cities in order to take one more step toward winning the war. Dropping nuclear bombs on Hiroshima and Nagasaki in order to save literally millions of American and Japanese casualties would be another extreme example.

In my book Breakthrough, Chase Manhattan’s utilitarian decisions may seem to be on a much smaller scale. However, as the Breakthrough trilogy progresses, we see a Pandora’s Box that is opened and the key is the discovery of wormholes. Indeed, a seemingly innocent breakthrough that can benefit mankind can instead threaten life as we know it and send us back to the dark ages. The protagonist must overcome his own internal and external conflict if he is to stop the madness and destroy this breakthrough discovery.

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