Themes

I just finished reading Writing with Quiet Hands by Paula Munier. It is a wonderful book that I can recommend to all writers.  It was towards the end that Ms. Munier provided me with an aha moment. She talked about the importance of carrying the theme through the book, and about using metaphors for that theme.   

I had never thought about it that way. I credit beginners luck for the fact that I successfully accomplished keeping the plot theme seamless in my first book, and I suspect beginners luck continues in my second.

I just printed out the first rough draft of my second Caitlyn Jamison mystery and now ask myself – what is the theme of this book? What message do I want the reader to take away? Have I been consistent with metaphors? Is the interwoven subplot consistent? Does it need to be?

And further, has my protagonist driven the story or has the story driven or overtaken her? I think the second is closer to the truth, so some rewriting, redirecting is in order.

This second go-around has provided insights that I didn’t have in the first book. I realize now that my books are character driven. The plot line I envisioned at the start of the process has changed drastically over the development of the book. That’s because the characters I created developed their own personalities and passions.

I allowed my characters freedom to explore their world, and in doing so they drove the plot line and I am very thankful they stayed true to the theme.

I have much work ahead of me to tighten the manuscript and make sure my protagonist is front and center. And time to think about answering the above questions. What exactly do I want my readers to take away from this second book?

Energized!

Getting set up for the Celebrate Holiday Bazaar

Last week I finished the first draft on my second Caitlyn Jamison mystery. As I sat back and thought about where the story had taken me, it occurred to me, once again, that my books are character driven.

Is it because my characters don’t trust me to come up with an interesting story, or is it that I am developing the characters to the point where they have minds of their own? I find some characters are more controlling than others and it’s interesting to sit back and see how their personalities develop.

Getting through the first draft was a long haul – almost a year – but that fact energized me to really dig in and fully develop the characters and the plot lines. I also want to give my readers something to think about by the end of the story.

And then, the folks I met at last Sunday’s holiday bazaar have also energized me. “Are you the author?” was the question as their faces lit up. They’d pick up the book, read the back, and then we’d talk about books and the writing process.

Sales were great, but talking with readers was even better.

Let's talk about setting

Next to plot and character, I think setting is the next most important decision a writer has to make. Setting is where the story takes place and it can be a character in itself. The setting creates the atmosphere of the book. 

Think about the geographic location (state, country, city), the terrain (midtown Manhattan, Midwest fields, San Francisco bay), buildings (is the story set in the city or rural area), weather (is it excessively hot, cold, major storms), transportation, population, economic, ethnic traditions, and time of year (spring, summer, fall, winter). Once the setting is decided, as you progress through the story make sure you stay consistent with time and place.

Don’t resort to clichés – “Dark and stormy night.”

Provide sensory details. What does the place look like, smell like. What are the shapes, colors, and textures? Use descriptive terms. “It was a nice day,” is bland. Come up with phrasing that ignites the reader’s senses.

Link details of your setting with emotions your reader might feel. What makes your setting different? What details can you provide that makes this setting unique.

Louise Penny, Deborah Crombie, and Elizabeth George (along with may other authors) do a great job of placing readers into their setting.

Packing my Author Talk Bag

I've been busy this week thinking about what I need for my Author Talk travel bag. Not that I'm traveling very far - four miles exactly to the England Run Branch Library, but I still need to tend to the details to make my presentation, whether there are three people or thirty, carefully thought out. 

I packed books, of course. Not a lot, but enough, and I will have more in the trunk of my car . . . just in case. I have a money bag with change, a zip lock bag with several pens, a small bottled water, and a stack of business cards. I am in the process of running off my handout, though I am only making ten copies.

I packed a lined pad in case I have more takers than handouts so that I can send the PDF of the handout via email to those who weren't able to get a paper copy.  

I will pop in a holder for a copy of my book and print out the price. 

Writers are always reminded to show, don't tell, and so I will have several props to use during my talk. Those are still downstairs where I practice my presentation. And each time I practice it I think of more things to share with my audience. Sigh. I'm only given an hour! And by that time those in attendance will want more of the Friends of the LIbrary's delicious refreshments. I need to stop adding!!

The last page of my handout is my writing toolbox. I certainly have used many more books than is listed here, but these are the special ones I keep close. 

My goal for the afternoon is to encourage everyone to write their story. If I can do it so can they. I hope I'm successful. 

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.

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. 14^th 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

Plot — From where do ideas come?

On Saturday, October 1 at 2:00 p.m. I will be giving an author talk at the CRRL England Run Branch. It will be fun to share my experiences in writing my first mystery. As I have reworked my Keynote presentation, many stories have come to mind. It will be my goal that day to encourage those in attendance that they, too, can write their story. 

To accomplish that goal I developed a handout. Below is some of what I learned along the way about developing plot lines. 

A story idea can come from anywhere, and sometimes from the most unexpected sources.

Keep a clipping file. That file holds clippings from newspaper/periodical articles, handwritten notes of things you have seen or heard. We’ve all heard the saying, “You can’t make this stuff up,” when we read or hear about something outrageous. I also keep a writing journal to track my progress and to jot down ideas as they come.

What did he/she just say? Everyday we come into contact with people talking about various issues. Be ready to jot down ideas that might come your way.

What subject do you feel passionate about? What do people want and how do they get it? What stands in their way?

Once a plot line (and possible subplots) is decided, character building begins. Don’t be surprised if during the process of developing the characters the plot lines change. Characters have been known to do that. A plot line has to have a beginning, middle and end.

Developing subplots. A subplot is a story within the main story. It is complete in it’s own right and serves to reinforce or divert attention from the main plot. Subplots are the story within the story and can offset the main plot or be something completely different. Either way the subplot has to be resolved by the end of the book. The subplot can feature the main characters or secondary characters. In An Unexpected Death I chose to have two subplots. One dealt with relationships, family and romantic. The romantic provides the sexual tension that readers’ like. The other subplot turned out to be the mental health issue. Subplots are woven into the story so that most readers don’t even notice. They are a way to keep the story moving, keeping readers turning pages. Subplots take the pressure off the main story, relieving tension and adding complexity. Both plot and subplot have to create tension with your characters.

The genesis of An Unexpected Death was something my sister said to me many years ago. It dealt with a little known, at that time, mental illness. That seed floated around in my head for about twenty years before it was put on paper. The environmental plot line came about by accident. It came as I developed one of the secondary characters. Relationships carry their own tension, and consequently that subplot had to be included.

So where do ideas come from?

Newspaper articles, Magazine articles, Television/Radio shows, Suggestions from family, friends, neighbors, your imagination, Everywhere!

What's Pacing?

“Pacing is the heartbeat of your story. It’s the rhythm that keeps your narrative on track, scene after scene.”[1]

Many people said after reading An Unexpected Death, “I couldn’t put it down.” That told me somehow I got the pacing right. It’s the pace that keeps the story moving, and keeps readers turning pages. So how did I do that?

I kept the chapters short.  I tried to have a strong first sentence and a strong last sentence with just enough description in between kept the story moving. 

Think of your story as having hills and valleys. As you ramp up the tension with conflicts, so too do you need to provide your readers some relief from that stress.

Paragraphs should be kept short and not bog down in the middle. When forming sentences watch for excess baggage – information that is not needed. Look for unnecessary words and phrases, and get rid of them. Make every word work!

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

What She Left Behind

It’s always exciting to discover a new author, and that’s exactly what happened a month ago. I was shelving new and returned books at our small Lodge library when I noticed a book by Ellen Marie Wiseman. The title, What She Left Behind, was similar to the Willard Psychiatric Center suitcase story, The Lives They Left Behind: Suitcases from a State Hospital Attic. When the hospital closed in 1995, the workers there discovered hundreds of suitcases abandoned in the attic of one of the buildings. The contents of the suitcases bore witness to the lives of those who were committed to that institution. To learn more about the suitcase project and even read some of the owner’s bios, check the website.

Ms. Wiseman took the event of finding the suitcases and turned it into a fictional tale of how Clara Cartwright’s father institutionalized her because she didn’t obey him. Clara’s story is set in 1929. Woven through the book is Izzy Stone’s story. Izzy is a foster child with an upsetting family background. She is pulled into volunteering for the suitcase project by her foster mother, and it is Izzy who find’s Clara’s suitcase. Izzy is intrigued with what she finds and through the process of learning more about Clara, Izzy learns more about herself and her family.

Ms. Wiseman’s first book is The Plum Tree. When I emailed to tell her how much I enjoyed the book, she replied that she had just submitted her third book to the publisher.