J is for Jumping in

Here’s a complete shocker: J is one of my favorite letters 😉 . But I had a really hard time thinking of something for the letter J. I was going to do an acrostic—but I still couldn’t think of anything for J, and then I’d have to think up even more letters? Blech.

So instead, I’m jumping in. This works on two levels in writing. The first is that we need to jump into our stories. In medias res is the common phrase: in the middle of things. Don’t spend five or fifteen or fifty pages warming up, giving us your characters’ life stories, waiting for something to happen. Readers don’t like to be kept waiting!

But we have to balance between opening too early and too late. We don’t have to have the central conflict on page one, line one. We need to have some sort of conflict in the first section of the book, but sometimes the biggest conflict of the book takes some time to set up. I’ve been more guilty of starting too late: at a point where the conflict is obvious, but the reader doesn’t know the character well enough to sympathize, or at a point where the conflict itself takes a lot of explanation instead of playing out in front of us.

The other way we need to jump into our writing is to do it now. So many people wish they “had time” to write. But having time to write doesn’t mean you have hours of down time (I certainly don’t, with three kids five and under). It means making time by making choices—and making sacrifices. Time you spend writing is time you can’t spend watching TV, playing piano, painting, knitting, practicing the piano, with your children, sleeping, etc.

On the other hand, sometimes it’s not that we’re not ready and willing to make the sacrifice—we’re scared. Guess what: you don’t need a degree or a certificate to write. Heck, I know people who write without a basic grasp of grammar and punctuation. There are no requirements to be a writer: just pen and paper. (Or a laptop. Oh wait, are those requirements? Crap.)

What do you think? Do you jump in?

Photo credits: plunge—Konrad Mostert

I is for Incredibly Informative Character Interviews

I’m not really that into character interviews myself, but I’ve been working on characterization lately for my WIP. So I’ve come up with a few questions that might be a little more informative than “When is your birthday?” or “What’s your favorite color?”

So, some questions to get to know your characters better:

  • What’s your favorite color? (I’m hilarious, aren’t I?) Why? How would you feel in a room painted that color? Who else would you want in there with you? Who wouldn’t be allowed? What would you do there?
  • What is your favorite food? When and where did you first taste it? What do you think of when you taste it again? What is your least favorite food?

  • Where are you from? What is that place like? How do you feel about the location you’re in now? What are your favorite spots in your current location? How has it changed over time?
  • If you absolutely must wake up, what scent of candle would you light? What kind of smell makes you feel relaxed? What did your grandparents smell like? What does your home smell like?
  • Do you consider yourself a funny person? Do you prefer dry, zany, slapstick, punny or another kind of humor? Would you rather be seen as funny, clever, respected, stoic, mature or something else? What’s your favorite joke?
  • If you hear bells, what do you think of? How about rain? Motors/engines? Running water? Sirens?
  • Think of your favorite clothing. How does it feel—rough, smooth, heavy, stretchy, warm, cool? How does it make you feel? Where would you wear it?

The emphasis here isn’t so much the hard facts—it’s on the character’s senses and emotions. How do these things make him or her feel? Why? How can you incorporate these sensory and emotional experiences into the whole of your character?

What do you think? What else do you focus on when getting to know your characters?

Photo by Svilen Mushkatov

H is for Homo fictus

This entry is part 11 of 11 in the series Creating sympathetic characters

In fiction, we strive for realism. Even if our characters are using wands or warp drives, we still want them to sound and act like real people.

You know, sort of.

In How to Write a Damn Good Novel, James N. Frey points out that fictional characters aren’t quite the same as real people:

Ficitonal characters—homo fictus—are not . . . identical to flesh-and-blood human beings—homo sapiens. One reason for this is that readers wish to read about the exceptional rather than the mundane. Readers demand that homo fictus be more handsome or ugly, ruthless or noble, vengeful or forgiving, brave or cowardly, and so on, than real people are. . . .

Homo fictus is an abstraction meant to project the essence, but not the totality, of homo sapiens. (1-2)

One of the chief ways homo fictus differs from homo sapiens is that homo fictus must make sense. Says Frey, “Homo fictus . . . may be complex, may be volatile, even mysterious, but he’s always fathomable. When he isn’t, the reader closes the book, and that’s that” (2) .

Another big turn off is unrealistic dialogue—dialogue that doesn’t sound natural at all, or dialogue that sounds too much like real life (i.e. boring!).

We all fall prey to these sins sometimes. And sometimes we try to justify them with the argument that they’re not just realistic, they’re real. That’s not a good enough excuse. As Nathan Bransford puts it,

Occasionally I’ll point out dialogue or events that aren’t working, and someone will protest, "But this is how people actually talk," or "This actually happened."

Writing isn’t about capturing real life as it actually happens. We have, well, real life for that.

Instead, writers have to elevate life and add spices and all the rest. Writers interpret real life, elevate it, reorder events, and serve up something perfectly balanced and ready for public consumption.

While we want to have the appearance of reality, we don’t really want an exact copy of it in our fiction. In real life, things don’t make sense, people do crazy things, conversations meander and fizzle out without saying much, and causation and purpose in the events of the world elude us. “Fixing” those things is one of the big benefits of reading fiction.

What do you think? How else are fiction and reality different?

Photo by Nadia

G is for free writing guides

So we just finished the emotion series here. I like doing blog series on skills I’m trying to develop or improve in my writing. In the past, I’ve assembled these into PDFs to make them convenient.

Creating Character Sympathy

free creating character sympathy guide

Free PDF guide to creating character sympathy
(original blog series on creating character sympathy)

Deep POV

Free Deep POV guide
Free PDF Guide to Deep POV—with bonus resources not found in the blog series!
(original blog Deep POV series)

Aspiring Author Websites

free website guide
Free PDF Guide to Aspiring Author Websites—with advice from the aspiring author website series and advice from website reviews by Kathleen MacIver and me, assembled to apply more generally.

The Plot Thickens (mwahahaha!)


Free PDF of The Plot Thickens (mwahahaha)—with bonus resources not found in the blog series!
(from the blog series)

I’ve gotten out of this habit, and it’ll probably be a little while before I can even begin to catch up, but one day I hope to have all my series in PDF format.

What series would you like to see next?

F is for finale

This entry is part 12 of 14 in the series Emotion: it's tough

Okay, so yesterday was the finale of the series on emotions. But there’s always so much more to learn about getting emotions on the page! So here are some awesome resources on writing emotions:

Emotion is how we get into our readers’ hearts. Emotion can take our book from “well written” to “captivating.” We read for an experience, and emotion is the best way to convey that experience. In fact, it is the experience.

E is for Emotion!

This entry is part 11 of 14 in the series Emotion: it's tough

I’ll bet you thought I forgot. I didn’t. In fact, I’ve been thinking about the conclusion to the series on emotions for a long time. Emotions keep coming up in everything I’m reading, it seems, and I don’t know if I can say it any better than these guys.

I’m not alone in seeing emotions as vital for making an impact on readers:

I once critiqued a novel whose opening scene failed to draw me in to the protagonist’s emotions. Yet all the other aspects of the scene were well done. . . . In reading the scene a second time, I realized what was missing. As this character waited, he displayed very little sign of the inner rhythm he would have been experiencing at such a moment. There he was, after two years’ meticulous planning, supposedly poised to spring into action. Numerous thought of what could go wrong were cycling through his head. Yet he just stood quietly waiting. No sign in his movements of fear, apprehension, the rush of adrenaline. No feel of his muscles tensing, shivering with the knowledge of action to come. And because he didn’t exude it I didn’t feel it even though the author informed me, through the character’s thoughts of all possible mishaps, that I should. (Brandilyn Collins, Getting into Character: Seven Secrets a Novelist Can Learn from Actors, 121)

Emotions can improve almost any scene, and they can even make formerly boring scenes vital keepers:

Micro-tension has its basis not in story circumstances or in words: it comes from emotions and not just any old emotions but conflicting emotions. (Donald Maass, The Fire in Fiction: Passion, Purpose and Techniques to Make Your Novel Great , 190)

In reality, it is feelings, specifically feelings in conflict with each other, that fill up an otherwise dead span of story and bring it alive. (Donald Maass, The Fire in Fiction: Passion, Purpose and Techniques to Make Your Novel Great , 225)

I believe that emotions are vital to writing. They’re not easy to convey well, to balance or to keep fresh—but they’re at the heart of fiction. And you don’t just have to take my word for it:

Novels are unique among art forms in their intimacy. They can take us inside a character’s heart and mind right away. And that is where your readers want to be. Go there immediately. And when you do, show us what your hero is made of. If you accomplish that, then the job of winning us over is done. (Donald Maass, The Fire in Fiction: Passion, Purpose and Techniques to Make Your Novel Great , 32)

What is fiction about if not the true portrayal of human emotions? That is the goal authors should strive for most. (Brandilyn Collins, Getting into Character: Seven Secrets a Novelist Can Learn from Actors , 103)

What do you think? What’s your favorite lesson about emotion in fiction?

Photo by Duncan C

D is for Do It Yourself

So I’d been all set to blog about disappointments in writing (no comment on why 😉 ), when I came across this via fellow Crusader J.C. Martin’s blog:

the DYI MFA 2.0

We’ve talked about MFAs before. I love and hate the idea, since I really want to go back to school and hope to never have to work like that again 😉 .

But a practical, self-guided, self-designed course to become a better writer? I’m all over that.

What do you think? What would you put in a DIY MFA course? Do you want to participate?

The promised announcement

All right, last week I promised you some good news. Fortunately, this good news starts with C: Contest!

The first three chapters + synopsis of Façade, my current WIP, were named as a finalist in the Crested Butte Writers’ Sandy Contest, Thriller/Suspense category! Woot!

Even better, I get a chance to revise my entry with the judges’ feedback this week. Then, along with the other four finalists’, my entry will be winging its way to the final judge: Sarah Knight, senior editor at Simon & Schuster.

It’s weird just typing that.

So, I’m off to re-polish my entry!


One more big announcement: along with my mother and three sisters, I’ve started a craft blog! So, if you’re into knitting, quilting, scrapbooking, sewing, baking, home decorating or otherwise creating, please check out Wayward Girls’ Crafts! We have giveaways to celebrate launch week!

Photo by Jason Meredith