Thursday, November 8, 2018

Writing Handout with things I learned along the way


Writing hints and stuff I learned along the way
© Mary Maki 2018

From where do ideas come? Anywhere – Newspaper/magazine articles, Television/Radio shows, trending social issues, life experiences, and your imagination.

What are you passionate about? What’s your story really about? What’s at stake for each character?

Decisions:
Genre (Where will your book be placed in a bookstore or library?), setting, characters, plot line (s), and timeframe. Will you be a plotter or pantser or both?

Character Development
Elizabeth George’s book On Writing, states, “Story is Character.” Give them flaws; have them doubt themselves. Let them grow and change by the end of the book. Write a bio for each character. You need to know everything about the characters—physical attributes (hair and eye color, height, weight, age, etc.) mental condition, family background, and occupation. Think of character analysis as physical, psychological and sociological. Once you have created a bio for your main characters you will know how they will respond in different situations. Secondary characters are just as important to develop. They should be strong. Avoid stereotypes. Don’t be surprised when characters take over.

Scenes – Think three-act play – When setting up your story think of it in three parts, beginning when you set up the action, middle when the action peaks, and end when story lines are brought to fruition. Within the acts are the scenes where the action takes place. Every scene has to move the story forward.

Point of View
Point of view is the distance between your characters and your readers.
First Person is the most intimate point of view and will draw readers emotionally into our character’s experience. “I” pronoun is used.
Second Person is even more intimate because readers get into the characters’ thoughts. It is used to draw readers in close. “You” pronoun is used.
Third Person is recognized by the use of “she” or “he.” This point of view is divided into two forms: Omniscient and limited. Third person limited is the most practical as it sticks to one character’s point of view at a time.
** The challenge is to not mix and match point of view so that the readers don’t get confused as to who is talking. One POV per scene.

Dialogue
Dialogue moves the story forward, sets the tone, creates tension, and a sense of time and place. It provides information and action. Dialogue reflects the speaker, their vocabulary, and speech patterns.

Pacing
“Pacing is the heartbeat of your story. It’s the rhythm that keeps your narrative on track, scene after scene.”[1]
Think of your story as having hills and valleys. As you ramp up the tension with conflicts, you also need to provide readers relief from that stress. [This could be when your subplot comes in.] Paragraphs should be kept short with various sentence lengths. Paragraphs should not bog down in the middle. When forming sentences watch for excess baggage, i.e. information not needed. Look for unnecessary words and phrases, and get rid of them. Make every word work!

Editing – Listen to the Music
Read out loud: That’s where the music comes in. Writing is not only visual. “The words you write make sounds, and when the sounds satisfy the reader’s ear, your writing works.”  The combination of correct words and length in a sentence creates a sound that will please a reader’s ear. When reading your manuscript aloud, you will hear the sour notes.

Publishing – Main Stream (Traditional) or Self-Publish – Or don’t publish at all– It’s a personal choice
Mainstream Publishing
You will need an agent. Check the library’s edition of The Writer’s Market for agents accepting queries in your genre. Read the instructions carefully. What kind of books does the agency represent? Follow directions to the letter. Learn how to write query letters. (How to Write Attention-grabbing Query & Cover Letters, by John Wood, 808.02 Wo) Be ready to accept rejection and most of all keep trying. When an agent accepts your manuscript, he/she will shop your book to publishing houses. If one of them buys the book, you will then face contract negotiations. You may need to hire a lawyer to protect your interests. Your book will be put in the queue and you may wait a year or more to publication.

Self-Publishing with CreateSpace
CreateSpace is an excellent option for self-publishing. The site offers easy step-by-step instructions for loading the manuscript and cover. It provides excellent customer service, shows the royalty structure, and distribution options. CreateSpace’s internal review process alerts the author to issues that might effect publication. [Set up a separate bank account for royalties to be deposited.] Downside: It is up to you to have a perfect manuscript and cover art. If you don’t have qualified beta readers, hire an editor.

Marketing – That other hat to wear
Whether you mainstream publish or self publish, you will have to do your own marketing. This is where social media is important. Author website, blog, LinkedIn, email contacts of family/friends, guest blogs, book festivals, craft fairs, newspaper articles, library author tables/presentations. Wherever you can get your name and books out to connect with readers.

My Writing Toolbox
Bell, James Scott, Plot and Structure. Writers Digest Books, Cincinnati, Ohio, 2004.
George, Elizabeth, Write Away. Harper Collins, New York, NY, 2004.
King, Stephen, On Writing; A memoir of the Craft. Scribner, New York, 2000.
Mills, Elizabeth Shown, Evidence Explained; Citing history sources form artifacts to cyberspace.
     Genealogical Publishing Company, Baltimore, MD, 2009.
Munier, Paula, Plot Perfect.  Writer’s Digest Books, Cincinnati, Ohio, 2014.
Munier, Paula, Writing with Quiet Hands. Writer’s Digest Books, Cincinnati, Ohio, 2015.
Provost, Gary, Make Your Words Work. Writers Digest Books, Cincinnati, Ohio, 1990.
Roberts, Gillian, You Can Write a Mystery. Writers Digest Books, Cincinnati, Ohio, 1999.
Rosenfeld, Jordan, Make a Scene. Writers Digest Books, Cincinnati, Ohio, 2017.
Writer’s Digest – Subscribe to get all the latest information on the writing process.


[1] Pereira, Gabriela. “Climax and Conclusion,” Writer’s Digest, October 2016, p. 54.

Writing Mysteries


 When I read the fall quarterly CRRL @YourLibrary publication this summer, I realized I was scheduled to make a presentation on writing mysteries to each of the library's three Inklings Writing Groups. And I was only to happy to do this. The handout follows below, but I told them that although it is critical to keep learning the craft of writing, sometimes rules need to be broken. Writing is first and foremost about YOUR creativity.  

The question I am often asked is: "What's the difference between a mystery and thriller?" The question should be: "What the difference between a mystery, suspense and thriller?"

At the recent CRRL Writers Conference, Traci Hunter Abramson described the differences with the bomb comparison: 
Mystery - The bomb has gone off - protagonist has to find out who done it
Suspense - Reader knows about bomb; protagonist doesn't
Thriller - Lost of bombs; lots of action

I told the group to put the word "usually" in front of everything I say, because sometimes our stories don't exactly fit the mold.

Mystery is a genre of fiction usually involving a mysterious death or a crime to be solved. Often with a closed circle of suspects, each suspect is usually provided with a credible motive and a reasonable opportunity for committing the crime.

Mystery Subgenres:

Traditional: A mystery must have certain elements to be considered a mystery.  Essentially, a mystery will have a puzzle or secret, or layers of puzzles or secrets, a setting that fits the type of book, a sound motive, red herrings, and clues. Most traditionally accepted mysteries have a murder. This is the element that compels people to keep reading. (Think Agatha Christie)

Cozy: Traditional cozies are light, sometimes humorous, slow paced (as compared to the other categories), the murder (usually quite civilized) and sex happen off scene, and the solving of the crime is a battle of wits between the reluctant amateur sleuth and the villain. The setting is most often in a small town or community and the sub-characters are quirky and fun. The sleuth falls into the mystery by accident or circumstance and uses common sense/gray cells to solve the crime. Usually first person. (Think Janet Evanovich)

Detective:

Hard Boiled
The hard boiled mystery is a detective story with attitude and action. It’s a tough mystery that takes place in a city or urban setting. It’s gritty. It’s violent. The blood and violence (and sex) takes place on screen. Usually the detective is a professional who’s been hired to investigate. Usually first person with a bare-bones or abrupt narrative style. This is not your emotional mystery. (Think Raymond Chandler or Michael Connelly)

Soft Boiled
The soft boiled mystery falls somewhere between the hard boiled and the cozy. It’s not as violent as the hard boiled, but can have more on scene than the cozy. Many soft boiled mysteries have humorous elements. The detective can be a professional or amateur. Misa’s Lola Cruz Mystery Series is an example of soft boiled. Janet Evanovich is also soft boiled (with some caper thrown in).

Police Procedural
The detective/sleuth in a police procedural is almost always a law enforcement agent of some sort. The details of the mystery plot are the focus, as opposed to the heavier character development of the other categories. The term police procedural is used because the procedures are detailed and accurate. Rules must be followed and crime details are key. (Think PD James and Tony Hillerman)

Think hard about the kind of details, POV, setting, level of violence in your book and how to categorize it. Not every book fits neatly into a category, but you should be able to see it in one of these categories (even if you have to push or shove a little bit!). Just a caveat, things that aren’t easily marketable–meaning your agent or editor doesn’t know how to explain what it is–are less likely to sell. If you can categorize your book, in general, all the better.
http://misaramirez.com/for-writers/types-of-mysteries/

In a thriller, "who done it" is usually known to the reader, and often times to the main character. The goal is not to solve a mystery, but rather to catch a criminal, or stop a crime from being committed. A thriller is a mystery that de-emphasizes cerebration, and emphasizes action and suspense. The protagonist is in danger from the outset.

Subgenres: Legal, Medical

Suspense: the main character may become aware of danger only gradually. In a mystery, the reader is exposed to the same information as the detective, but in a suspense story, the reader is aware of things unknown to the protagonist. The reader sees the bad guy plant the bomb, and then suffers the suspense of wondering when or if it will explode. Suspense gives a feeling of pleasurable uncertainty.

Mysteries have the same basic elements as all prose
Characters
Setting
Plot/storyline/your reason for writing
Suspense/Action/ What’s at stake/Hold readers’ attention/
Hook the reader on the first page

Character Rules:
Character bios – protagonist and supporting characters (not too many)
Each character should have a role
Mirror characters – the protagonist needs someone to talk to, bounce ideas off of
Avoid stereotypes
Be ready for your characters to take over and change the story

Develop your protagonist:
What crime (or bad thing) has been committed and needs to be solved.
Who is he/she? Why does your protagonist care about the crime? Make it personal.
What is your protagonist’s problem, goal, need, desire?
What are his/her motives for solving the crime and what resources will he/she need?
What obstacles stand in his/her way? Develop a crisis point.
Show readers something your protagonist wants, and then threaten it.
Build tension. Get into each character’s head. How would they react in any situation?
How will your characters change by the end of the book?

Mechanics:
Point of view (POV)
Dialogue – keep crisp, clear
Plotter or Pantser? Do you plan ahead, outline, or just write and see what happens?
What is this story about? What do I want this story to be about? Keep asking that question.
Red herrings – suspects/clues/misdirection – but play fair
Pacing – give your readers a break! After a fast-pace chapter, slow it down
Research – Readers are smart, and will catch any little detail you’ve gotten wrong
Editing – make every word work

Closure
Think of your story as a three act play – setting the stage, climax, tying up plot lines
How will the story end? Write the ending first.

My Writing Toolbox

George, Elizabeth, Write Away. Harper Collins, New York, NY, 2004.
King, Stephen, On Writing; A memoir of the Craft. Scribner, New York, 2000.
Lamott, Anne, Bird by Bird. Anchor Books, New York, 1994.
Mills, Elizabeth Shown, Evidence Explained; Citing history sources form artifacts to cyberspace. Genealogical Publishing Company, Baltimore, MD, 2009.
Munier, Paula, Plot Perfect.  Writer’s Digest Books, Cincinnati, Ohio, 2014.
Munier, Paula, Writing with Quiet Hands. Writer’s Digest Books, Cincinnati, Ohio, 2015.
Provost, Gary, Make Your Words Work. Writers Digest Books, Cincinnati, Ohio, 1990.
Roberts, Gillian, You Can Write a Mystery. Writers Digest Books, Cincinnati, Ohio, 1999.
Stone, Todd A., Novelist’s Boot Camp; 101 Ways to take your book from Boring to Bestseller. Writer’s Digest Books, Cincinnati, Ohio, 2006.
The Chicago Manual of Style, The University of Chicago Press, Chicago, IL. 14th Edition, 1993.
Writer’s Digest – Subscribe to get all the latest information on writing process, finding agents, best websites, and unlimited how-to’s for writing.  [http://subscriptions.writersdigest.com/Writers-Digest/Magazine]
Dictionary and Thesaurus