Category Archives: #amwriting

How to build a solid writer’s platform?

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By Joe Moore
@JoeMoore_writer

With the rapid growth of indie publishing, the responsibility of marketing and promotion falls even more on the shoulders of the author. One of the most important questions the indie author can ask is “Do I have a solid platform?” Writing a quality, professional manuscript properly edited and designed is a good start. But you also need to prepare a ready-made audience consisting of a fan base or at least a group of potential fans. And for new writers, this must be done BEFORE you publish your book. Even veteran, multi-book authors must have a solid, established platform. It should be part of your overall publishing business plan.

platform1What is a platform?

In a single word, your platform is your “brand”. Having a solid platform in the indie world is the foundation of selling more books.

How do you establish or build your platform? The quickest way is to start with the Internet. Here are a couple of methods to begin nailing your platform together.

Website. There was a time when a website was only for the rich and famous. Those days are long gone. A writer without a website is about as logical as a carpenter without a tool kit. The indie author’s website is the “first impression” a potential reader gets of your brand. It’s truly a no-brainer. Your website is your billboard, your advertisement, your calling card. And the potential for delivering a creative message is only limited to your imagination. Essential elements on your website must include: a method for contacting you; a method for purchasing your book(s); a method for the press to gain information (digital press kit); an incentive to linger or return such as a contest or free sample chapters; a method for you to track your website. Other considerations include continuity in your website colors and design that are in sync with your book covers or other branding elements, and a reasonable amount of interactivity such as a method of leaving comments or subscribing to newsletters and publication news, or RSS and other informational digital feeds.

Blogging. A blog is an online method of expressing your thoughts with a means for visitors to leave a comment or opinion. As a writer, your blog will probably be about your writing, your books, or some other connection to your craft and career. Some authors like to venture away from their books and discuss other topics such as politics, religion, economics, etc. A word of warning: You’ve worked hard to establish and build your “brand”. Don’t blow it by pissing off your readers. At some point they just might reject your next thriller or mystery because they don’t agree with your position on unrelated issues. A blog can easily turn into a slippery slope.

Newsletter. As previously mentioned, your website needs a method for your visitors and fans to subscribe to a newsletter or news bulletin. If they’re a fan, they want to know about you and your books. When is your next book coming out? When are you going to do a signing in their area? Will you be at a particular writer’s conference? They want the latest news. And the best and most economical way to get them what they want is an electronic newsletter. There are numerous email-generating newsletter sources that you can use to put together a value-filled publication. A few suggestions are Constant Contact, MailChimp, and Vertical Response.

Write some stuff. Any writing credit is a good writing credit, and it helps build your platform. No matter what you write, whether it’s for the local paper or a national magazine, you’re byline should contain a mention that you are a novelist. So if the reader likes your article or how-to piece, and they see you also write thrillers or mysteries, that’s a potential plank in your platform.

Book forums. There are a ton of forums out there dealing with readers and writers. A good resource to begin finding them is groups.yahoo.com/. Others include WritersNet, Backspace, and Absolute Write. Make yourself known on these and similar forums and you’ll be adding to your brand and platform.

Social Networks. Sites like LinkedIn.com, Facebook.com, Twitter.com, Goodreads, and countless others are perfect for building your brand. The only potential risk is the time you might spend on these sites instead of writing your book. But they are a terrific source of finding your dedicated or new fans. A word of caution: see the note on blogging above.

Additional platform-building tools include professional publicity photos of yourself and a strong press-ready biography. Also, memberships in writer organizations such as the International Thriller Writers or Mystery Writers of America help build your brand and platform among your colleagues and fans. The networking and connections made within these organizations and their subsequent writer conferences are invaluable.

Now it’s your turn, Zoners. What additional planks have you nailed into your writer’s platform?
rapsheet1———————————
Like your thrillers in French? No problem. THE BLADE and THE SHIELD have just been released in French.

Finish or Languish?

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Following on from two great posts by my fellow Killzone blog mates: Joe Hartlaub (Saturday’s post – here) and James Bell (Sunday’s post – here) , it struck me that both raise an issue about a fundamental obstacle to many (if not most) writers – finishing the actual book. Joe regrets not doing anything with a great idea he had, while Jim discusses whether it’s the best or worst of times to be a writer – both raising the obvious point that the only way you can be in the game is to sit down and actually finish your project. I can’t count the number of people who have expressed how much they want to be a writer but cannot seem to actually finish writing a book – they have parts and bits in a drawer but nothing complete – either for further editing, submission or publication. I sympathize because this was me for many, many years.

I always wanted to be a writer, or at least I expressed that desire, but, apart from half written pieces, drafts and jottings, I somehow never managed to actually finish a project. This all changed when, though some weird serendipity/alignment of the stars, I quit my job in anticipation of starting a Ph.D and then discovered my brain was finally free to do what I had always wanted to do – write a novel. I was extremely lucky to have found an agent interested in my work at my first writer’s conference and this undoubtedly spurred me on to finish the project she and I discussed. (Who knows, if I hadn’t had this impetus, maybe Ursula’s first mystery would still be half-finished and languishing in a drawer…)

So what are the many impediments to actually sitting down and completing a manuscript? There’s the time factor obviously – but this is an excuse which wears thin as even established novelists have to carve out time from their lives (a task which is never easy) and most have balanced other careers, families and other commitments in order to complete the task ahead. For me, I think the impediment was always internal, rather than external. I lacked the confidence to complete a novel, and I spent more time self-censoring myself in some elusive quest to be ‘literary’ enough (a standard I set that could never be attained). Even today I still question my ability to complete the task, but I am fortunate enough to have the motivation and the support of family, fellow writers, editors and my agent to continue to write. Now I suspect it’s a mixture of stubbornness, accountability and ambition that keeps me writing – but that doesn’t mean it gets any easier to complete the task!

So what about you, fellow TKZers, what are your obstacles (both internal and external) to completing your writing projects? How do you face the challenge of finishing the work rather than letting it languish either in your mind or at the back of a drawer?

 

First Page Critique: Prologue (Helston, England 1864)

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Jordan Dane
@JordanDane

 

iStock_000009293879XSmall

Photo image from iStock, purchased by Jordan Dane

Enjoy the first page anonymous submission (as yet untitled) for your consideration and feedback. My comments are on the flipside.

Prologue

Helston, England

December, 1864
The moonlight shined through the window, casting an eerie sheen down her caramel-colored hair.  Her fingertips, well-manicured with a light pink coating, gently held the stem of her wine glass.

The large house was empty save for the two of them, and as his eyes surveyed the dim living room, photographs of family members cluttered the mantelpiece above the fireplace.  The colorfully decorated Christmas tree reflected in the glass of a framed picture, the holiday lights so magnificent that he could hardly see the middle-aged couple depicted in the shot.

She smiled, and as she did so, he mimicked her gesture.

“Supper was great, thank you.”  Past her left shoulder through the window, the silhouettes of bare tree branches scratched at the moon.

“I am glad you enjoyed it,” she responded.  What was her name?  He blinked.  Catherine.

He could faintly tell she was beautiful, and regretted he couldn’t enjoy the sight.  Long, wavy light brown hair, just a hue darker than blonde, cascaded down her back.  Light blue eyes—sky blue to be exact—glanced at the maroon table cloth.  And her heart, beating through her black dress…

He sighed impatiently.

She leaned forward, tucking her hands underneath her chin.  “I must allow myself to admit I am relieved that Mrs. Norfolk has not returned.”

“For ought I know, she is on her way.”

Laughter jumped along the air.  “Oh, pray not!”

He narrowed his eyes as he studied her, trying his best to recall the letter that arrived at his flat just last week.  The girl was twenty-two.  Her birthday was to be on New Year’s Eve, just three weeks away.  Her parents, as he had suspected when he had coerced her into inviting him to dinner, were out at a social event.  They are clearly well-respected within the community, Cam commented, noting the high ceilings that resembled a cathedral more than an actual home.  If being wealthy counted as a community.

“I cannot believe we talked for so long,” he heard himself say.

“I know.”  She glanced at the grandfather clock in the corner.  “Three hours.”

“And I really should be going.  Any longer and I shall be missed.”

Lie.

She leaned back in her seat.  “Oh.”

His lips curved into an easy smile as he stood.  His right hand shoved inside his pocket, clacking coins together.

 

Feedback Comments:

1.) Historical World-building – After my first pass through, I went back to read the tag line and remembered this was a historical piece. By the dialogue and the prose, I did not get a sense of the period. I would have appreciated more setting that triggered my senses to place this story intro into the period. Is it cold in December? What does that look like or feel off the stone walls? Is there a fire in the hearth? What does the place smell like? These details do not have to go on forever, but a smattering of notions can put the reader into that room without much effort.

2.) Dialogue – The dialogue is more modern as well. The writing is sparse in general, mostly dialogue, but if this is to be a period piece, readers of the genre expect proper research. Simple phrases like “the large house” and “living room” do not reflect the time. I would have expected wording like: the manor and parlor, for example. Dialogue like “I cannot believe we talked for so long” might be changed to ” rarely do I engage in such congenial conversation, madam, and at such length.” (Come on, historical authors. Help me out here.)

3.) Point of View & Awkward Phrases – Most of this intro is seen through his perspective, but there are moments where the lines are clearly envisioned through her. This reads as head-hopping. I would recommend selecting one POV and sticking with that, per scene. If there is reason to keep his motives secret, for the sake of mystery and the plot, then I would select her POV as the main one. Or this intro can be cleaned up by making every line as seen through his eyes only.

POV problems and Awkward Phrase Examples:

Her fingertips…gently held the stem of the wine glass – Unless he knows how much pressure she is putting on that stem, he wouldn’t know how gently she is grasping it. He can only guess at it. Without the subject being him, this reads as if it’s her POV.

He could faintly tell she was beautiful, and regretted he couldn’t enjoy the sight – I had to read this again. It drew me from the reading. She is either beautiful, in his estimation, or she is not. And it seems he is enjoying her beauty quite a bit since he’s described her hair more than once and is noticing every aspect of her body. It also wasn’t clear to me why he couldn’t enjoy the sight, but perhaps that comes later.

Light blue eyes—sky blue to be exact—glanced at the maroon table cloth.  And her heart, beating through her black dress…– These descriptions make it seem as if her eyes (as the main subject) are not connected to her body or her heart is the only thing in that dress. By using pronouns in a better way, rather than purely writing for imagery, the meaning would be clearer – ie He admired how her sky blue eyes refused to meet his gaze as she glanced along the maroon tablecloth. When her bosom heaved, he imagined her heart raced under the dark ribbons and lace of her frock. There is also a POV problem where the last line is clearly in her point of view since he can’t know how fast her heart is beating under her dress.

Laughter jumped along the air – This line is very awkward. It tossed me from the reading. Anyone else? This generic reference to laughter also does not indicate who is laughing. I assumed it was her laughter, but then why not say it?

Past her left shoulder through the window, the silhouettes of bare tree branches scratched at the moon – This should be in his POV, yet he is not mentioned at all. Several descriptions are disembodied. I had to reread this particular line, thinking at first that it might be a dangling participle.. It’s not, but it through me out. It would be cleaner if the sentence flowed more simply with him as the subject – He gazed over her left shoulder to see the dark silhouettes of bare tree branches scratching at the moon.

He heard himself say – This could be simplified to: He said.

Overall: – There is obvious tension in this scene. The author does a good job of focusing on body language to set that mood. Adding more on setting can only enhance this friction and expand on the mystery of what’s happening. If the point of view were clearly in one head, there could be more mystery layered into this piece to make it more intriguing. Imagine if the POV is in his head and he does not trust her beguiling manner. Who is playing whom? And a better defined setting would not only add to the mood of the scene, but also set the stage in history.

What do you think, TKZers? Please share your constructive criticism.

Movies of Books – The Good, The Bad, and The Ugly

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In yesterday’s New York Times Book Review, the bookends column asked two writers to vote for their favorite movie adaptation of a book (see link here). The first was Willy Wonka and the Chocolate Factory (the psychedelic 1970s version with Gene Wilder, not the ultra creepy Tim Burton movie); the second was the Ralph Fiennes and Julianne Moore  version of The End of the Affair. While I’m on the fence about Willy Wonka, I agree that the  The End of the Affair movie actually enhanced the book for me (a rare thing indeed in a movie adaptation).

So I got to thinking of all the great and the not so great movie versions of books over the years and it’s obvious that it’s a precariously thing indeed turning a beloved book into a critically successful movie (let alone one that does well at the box office). Last night I finally watched 12 Years A Slave – but having not read the book on which it’s based I can’t really comment on how faithful or moving an adaptation it was. It was certainly a good, moving film – though one that certainly put a bit of a dampener on my pre Mother’s Day mood (but then so did the Colorado weather – snow in May is never a good thing!).

My vote for some of the best movie adaptations of books include: The Last of the Mohicans (though, to be fair, that book was a bit of a hard slog and Daniel Day Lewis was enough for me to give it my vote anyway!), The Age of Innocence (another Daniel Day Lewis movie), Atonement (I actually preferred the movie to the book, but that’s probably because I’m a Philistine!) and finally The Lord of the Rings trilogy.

Sadly, as far as the Lord of the Rings movie series is concerned, I didn’t feel the same way at all about the movie adaptation of The Hobbit. I recently read the book aloud to my boys and it was depressing to realize, after about ten minutes into the first movie, that there was no way they could watch the movie version. Not only was it way too violent, but it had also killed off all the charm of the book with both silliness as well as gore (not to mention dragging the whole thing out for three movies!). There are, sadly, many, many movies on my ‘worst adaptation’ list. The Scarlett Letter (shudder!), The Time Traveller’s Wife (another shudder!), The DaVinci Code (ugh!), and Ender’s Game (fail!) to name just a few…

For my kids, another bomb in the book to movie department was The Golden Compass. Now even I admit, Philip Pullman’s Dark Materials Trilogy has some major philosophical hurdles to deal with as far as mass movie consumption is concerned. But still, this was such a major disappointment that even my boys (who did enjoy the books) could only shrug at the end of the movie. I’m just thankful we’d read the book first, otherwise I fear my boys would never have wanted to even open the first page after seeing the movie!

So what about you all? What is your favorite movie adaptation of a book? What, in your opinion, is one of the worst?

 

Critical Scenes Need Nail-Biting Details

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Captivate Your Readers_medJodie Renner, editor & author  @JodieRennerEd

For mundane scenes, it’s best to spare readers the details. We don’t need to know that your character got up, showered, dressed and had toast and eggs before heading off to work. Yawn.

On the other hand, when it comes to significant scenes where your character is trying to escape confinement or otherwise fight for his life, be sure you don’t skip over the details. If it’s a life-or-death moment, show every tiny movement, thought, and action. To increase tension, suspense, and intrigue, milk those crucial scenes for all they’re worth.

Below are some “before” examples, inspired by passages I’ve edited. In each example, including additional detail, such as emotions, physical sensations, and reactions, would be much more effective in bringing the scene to life and keeping readers on the edge of their seats.

I’ve quickly created a possible “after” example for each one to illustrate what I mean, but I’m sure you can do even better.

Setup: Escaping from an insane asylum.

Before:

Harley whispered, “I managed to lift the keys. Four in the morning. Get through the woods. I’ll be waiting in a car on the other side.”

Jennifer didn’t sleep at all that night. Four a.m. couldn’t come soon enough. Harley had chosen that time because it was the morning shift change, when the attendants met to discuss what patient problems to look for. After they had settled into the cafeteria, Jennifer ran to the supply room that had an exit door at the other end. The keys worked perfectly, and she was out behind the hospital in less than a minute.

That was way too easy for suspense fiction. Nothing went wrong! Yawn. Let’s try that again:

After:

Harley whispered, “I managed to lift the keys to the supply room. Inside the room, there’s an exit door that leads to the backyard. Do it at four in the morning. It’s shift change, and they’ll all be meeting to discuss the patients. Get through the woods. I’ll be waiting in a car on the other side.”

Jennifer didn’t sleep at all that night. At four a.m., she threw on a robe and crept toward the supply room, flattening herself against the walls and ducking into doorways. She peeked around the last corner. Damn. An orderly was coming out of the supply room carrying towels. Jennifer ducked her head back and hid in a dark recessed doorway, clutching the keys so they wouldn’t jiggle.

She heard footsteps approaching. She held her breath. The orderly passed, engrossed in his cell phone, so he didn’t notice her. She raced to the storage room, glad she was wearing sneakers. Looking around, she tried one key after another, before finally hitting one that opened the door. Yes. She crept in and quietly closed the door behind her, then fumbled for the light switch so she could find the back exit. Just as she saw the exit straight ahead, she heard footsteps approaching. Damn. The orderly must be back. She snapped off the light and tiptoed toward the Exit sign in the dark. She fumbled for the doorknob and found it just as she heard a key in the other door. She yanked out the door and slipped out.

So far so good! But she still has to make it across the back field to the cover of the woods. And did the orderly hear her close the exit door?

Another “before” to continue the same story:

Jennifer looked around. It was pitch black and raining like crazy. With every step, she would sink a few inches into the muck, more walking than running. When she got to the edge of the yard, she searched for a hole in the hedge, then crawled through. She hopped a barbed wire fence and saw a blue Toyota idling on the side of the road. She took off on a run.

My advice to the author of the original version was:

For nail-biting scenes like this, it’s best to have more “showing” than “telling.” Stretch it out a bit here for more trouble and tension and suspense. Also, amp up the tension by adding more danger and threats.

After:

It was pitch black and raining like crazy. And she was in her hospital gown. She started to run across the field, sinking into the muck with every step, more walking than running. Behind her, the door opened, and a male voice yelled “Hey, you! Stop!”

Crap! She picked up her pace, glad she was away from the lights and there was no full moon. As she raced through the soggy field, the mud sucked off one shoe, then another. The alarm started blaring behind her. She limped along, bare feet sinking into the mud with each step.

When she finally reached the woods, she discovered that what from her window had looked like a thin hedge was instead a thorny knot of blackberry bushes. She ran along the edge looking for an opening. At last, she found an opening and crawled through. She ran along the deer path for a while, then stopped. A barbed wire fence. Damn! She carefully grabbed the wires and pulled them up and down, then crawled through with difficulty. She could hear yelling and running behind her. She ran to the road and saw a blue Toyota idling there. She took off on a run.

Here’s another example of adding details, emotions, and reactions to create a more riveting scene.

Writing a Killer Thriller_May '13Before:

Linda opened the door of the tiny apartment.

Terry was gone, his clothes were gone, and so was the money. What! She ran down the concrete steps and into the parking lot. The Jeep was gone.

After:

Linda opened the door of the tiny apartment.

Where was Terry? She called his name. No answer. She surveyed the small room, then checked the bathroom and tiny bedroom. No sign of him. His clothes were gone too. What the–? Did he take the money, too?

Starting to panic, she searched under the bed and in the closet for the bag of cash. She yanked open all the dresser drawers and pulled out the contents, then ran and ransacked the small kitchen and living area. Nothing. Shit! The rat.

She ran down the concrete steps and into the parking lot. The Jeep was gone. Christ. Now what? She stomped her foot and ran a hand through her hair in frustration.

And one last example:

Before:

Ken ran down the back stairs. The wind was whistling between the buildings, and it felt like it was twenty below. He finally saw an old beater in the back of the parking lot that wasn’t locked, so he jumped in, hotwired it, and got the hell out of there.

It would be much more effective to show the details of his struggle so the reader can picture what he’s going through and get caught up in it, rather than skimming over and summarizing like this.

After:

Ken ran down the back stairs. The wind was whistling between the buildings, and it felt like it was twenty below. Hoodie up over his head, he darted through the parking lot, trying one car door after another. All locked. Damn! He looked around. A dented beater sat in the back of the parking lot. He dashed over and tried the door. It opened. Yes! He jumped in, hotwired it, and got the hell out of there.

But don’t show details the character wouldn’t notice.

On the other hand, skip any extraneous or distracting details, things the character wouldn’t notice or care about at that critical moment.

Say your two characters, a young male and female, are on the run from bad guys in a large museum or art gallery. They’ll be desperately looking for places to duck into or exits, concentrating on escaping alive. This is not the time to go into detail about the interesting artwork or ancient artifacts around them. Perhaps mention a few in passing as they consider ducking behind them, or for some other reason relevant to their life-or-death situation. Describing their surroundings in detail is not only unrealistic; it dissipates the tension and slows down the pace at a time when they should be charging through at a break-neck speed.

So be careful not to bog down your fast-paced scenes with a lot of detail the characters wouldn’t have time to notice.

Fire up Your Fiction_ebook_2 silversFor more tips on pacing your scenes, including how to write effective action scenes, check out my three editor’s guides to writing compelling fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller.

What do you read while writing?

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images-1Inspired in part by this week’s New York Times ‘Bookends’ article (What do you read while you write?) I thought I’d venture to assess my own reading habits (both good and bad) while in the midst of writing my current WIP. As both Zoe Heller and Anna Holmes acknowledge, the act of ‘reading’ while supposedly engaged in the writing process  encompasses a range of motivations – from seeking inspiration to procrastination to sheer ‘writing avoidance’.

Many writers I know avoid reading anything in the genre they are currently writing for fear that their own voice or plot might be unduly influenced, but as Zoe points out this might involve forswearing off a vast array of fiction for years (given how long it can take to finish a WIP). When I was writing my first book, I borrowed countless historical mysteries from the library, all of which I read, examined and dissected in the name of understanding the genre I was attempting. When in the thick of actually writing the final manuscript though I admit I hesitated continuing to read too many of these same books lest my own work feel derivative or a horribly cheap imitation. Sometimes the worse thing you can do is read an amazing book when you’re feeling particularly vulnerable about your own writing standards!

We can’t forget the important adage, however, that in order to be a good writer you need to read and read widely. I am ever thankful for my book group for ensuring that at least guilt alone will drive me to read outside the research I usually have to do for my novels. That research is, unfortunately, also a great excuse to do ‘writing avoidance’ reading and many an extra hour (or four!) has been spent on obscure historical research that ended up as one line (if I’m lucky) in one of my novels.

I was comforted at least to read that both Zoe Heller and Anna Holmes suffered the same weakness for ‘reading’ online when they really should be writing. Facebook status updates, trashy headlines on the The Daily Mail or ‘TV scoop’ on E-online are all traps I easily fall into when I think I’ll just ‘take a break’ and before I know it 5 minutes has turned into 20 and my brain has turned to mush.

So what about you TKZers, what do you ‘read while you write’?

  • Do you have books you turn to for inspiration?
  • Do you read or avoid books in the same genre as your current WIP?
  • How much of your ‘reading’ ends up as procrastination or writing avoidance?

 

Finding Strength in Numbers

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1MWAEdgarsKris is off this week, attending to her official duties for the upcoming Edgar(R) Awards ceremonies. Awards season is traditionally a time of anticipation and excitement for writers. The ceremonies present a rare opportunity for us to emerge from behind our glowing screens, don beaded gown or black tie, in order to honor and socialize with our peers.

In addition to handing out awards, professional associations can support and add value to any writer’s career. Here’s a roundup of some of the leading associations for writers:

Mystery Writers of America

MWA, which presents the Edgar(R) Awards, is a well-established association for crime writers in the United States. MWA works to raise the the level of recognition for writers who write in the crime genre, while educating its members about their rights and interests.

International Thriller Writers

As the title suggests, ITW is an association of writers who create thrillers. Emphasis is placed on finding ways for bestselling authors to pass their knowledge of the writing craft to mid-list and debut writers. ITW presents its yearly Thriller Awards at its annual conference in New York City.

Sisters In Crime

The stated mission of Sisters in Crime is to “promote the professional development and the advancement of women crime writers to achieve equality in the industry.” There are SinC chapters all over the country.

Science Fiction and Fantasy Writers of America

SFWA, which hosts the Nebula Awards, “informs, supports, defends, and advocates” for its membership of science fiction and fantasy writers. High-profile members of the past include Ray Bradbury, Anne McCaffrey, and Isaac Asimov.

Romance Writers of America

RWA seeks to enhance the professional interest of romance writers through networking and advocacy. It presents annual awards for both published books and unpublished manuscripts.

Horror Writers Association

HWA promotes the interests of “dark literature”, and those who write it. HWA presents the annual Bram Stoker Awards(R) for achievement in horror literature.

Question

Are there any groups I’ve overlooked? Which professional associations do you belong to? How have those associations helped your development as a writer?

And congratulations to all the nominees for the Edgar this year!

Think your book is ready to publish? Maybe not.

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Note from Jodie: I’m busy packing to move to another city next week, so bestselling – and prolific! – author Allison Brennan has kindly consented to share some valuable advice for aspiring authors today. Welcome, Allison!

Allison Brennan

In 2002, I finished my first full-length novel, a masterful romantic suspense. It had everything … and I mean everything … that a romantic suspense novel could have.

A Heroine … beautiful, smart, sweet. And a virgin. She was a computer expert who worked from home.

A Hero … tough, dedicated, handsome. And a cop.

A Chance Encounter … the heroine thought the hero was an intruder in her apartment building. An old house converted into three flats. How was she to know the landlord had rented the vacant unit?

A Villain … he worked at the coffee shop where the heroine bought her morning coffee after her daily run. He loved her. He was certain she felt the same way, but he couldn’t talk to her, so he stalked her.

A Victim (or five) … the villain, unable to share his feelings for the heroine, rapes women who look like her. Of course my hero catches the serial rape case.

The Ex-Girlfriend … the hero has a psycho ex-girlfriend who is none too happy when she sees the hero kissing the heroine. At some point, she trashes the Heroine’s apartment.

The Ex-Fiancé … yes, the heroine had been engaged. She broke it off for some reason I don’t remember (but I’m sure it was a very good reason), and then she learned that her ex was selling company secrets to a rival. So of course she turned him in.

The Heroine’s Brother. A priest. Well, a former Marine turned priest. (Why? I don’t know. It sounded good at the time.)

Danger. The Heroine’s ex-fiancé, furious that he was fired, plots to embezzle money from the company. But he needs the Very Smart Heroine to hack into the system and steal the payroll before it’s direct-deposited into employee accounts. To force her to help him, he and his gang hold her brother (the former Marine turned priest) hostage, shooting him in the leg when she refuses to help.

Of course, the hero comes in to save the day!

But lest you forget Stalker Boy, he was just as upset as Ex-Girlfriend that Heroine and Hero were kissing. Around this point, Hero realizes that the rape victims (and he’s escalating, because one died) all look like our Heroine. He gets all Alpha Hero wanting to protect her. But because Villain is a psycho, he kills Ex-Girlfriend and frames our Hero. While our Hero is in jail, our Stalker kidnaps the Heroine and takes her to the Cascade Mountains where he forces her to wear his mother’s wedding dress in a mock ceremony so that they can “legally” consummate their marriage.

Of course, the hero comes in to save the day … again.

Did I mention that Villain also killed his mother and kept her decomposing body in her house?

Yes, Hot Latte had it all. Literally.

(Stop laughing. Yes, I called it Hot Latte. Because that was the heroine’s preferred beverage at the coffeehouse.)

Alas, Hot Latte has never been—and never will be—published. Truly, I had at least six good books crammed into that one novel! I’ve used some of the plot twists in future books, and I still have more to spare.

My first book taught me a lot about writing. In fact, writing Hot Latte was essentially a crash course in fiction writing. What to do … and, mostly, what not to do.

I sold my fifth completed manuscript, The Prey, to Ballantine in 2004. My first four books aren’t publishable, but I truly believe my career depended on me writing them. Through the process of writing those books, I learned how to structure, pace and plot a story. (I use the word “plot” loosely because I don’t plot, per se.) I learned about character, backstory, conflict, and self-editing.

My first book isn’t salvageable. I would also argue that ten years ago, I didn’t have the skill to completely rewrite anything into something that was the same core story … but different. Better.

I owe more than I can say to my former editor at Ballantine for helping me learn how to see the big picture. In fact, I still hire her to edit my indie books because, even after twenty-five traditionally published novels, I crave editing. I also insist on revisions for every traditional book I write. I don’t consider it a failure to get a long revision letter—to me, that external guidance makes a good book great. While I’m a better writer today than I was ten years ago, but that doesn’t mean my books don’t benefit from a thoughtful developmental editor. (I’m not talking about copyediting and proofreading – those are a given. I’m talking about someone who looks at the big picture and helps make it clearer.)

I thank God that self-publishing was not a viable option in 2002 when I wrote Hot Latte. Because I honestly thought that it was a good book. My best friend read it and she liked it, too. (Ahem. See tongue in cheek?) It was clean – meaning there were few, if any, grammatical or spelling errors. Who wouldn’t love it? I mean it had everything in it! Literally!

But all the agents and editors who rejected it were right. When I found an old copy of the manuscript a few years ago, I cringed. It was that bad. Every cliché in romantic suspense found a home in my book.

I recognize that the publishing world is different today than ten years ago. Yet … there are some truths that remain the same. The primary truth is that you should only put your best work forward.

Just because the new climate has allowed everyone to publish doesn’t mean that everyone should publish their first … or second … or fifth book.

I can’t tell you how many times someone has told me that they were rejected by “New York” and obviously “New York” doesn’t know what’s good, so they’re going to self-publish.

Or how many people have said they can’t afford an editor, but their daughter/mother/best friend is a good proofreader. (Proofreading is NOT editing.) One person actually told me that once they start making money selling their books on Amazon, then they can afford to hire an editor.

Or how many people feel they have written the perfect book and any editorial input would make it less perfect. That they don’t want to change anything in the story because it’s exactly the way they want it.

Or how many people tell me they don’t really care whether they make money or not, they want to “get their story out there” and since it’s free to do so, they don’t want to spend any money on editing or cover design. These people actually make me angry – because I take my career seriously, I take books seriously, and I don’t think that “just getting something out there because you can” respects authors or readers.

New York rejects books for two primary reasons: either the book is total crap or they have no idea how to market the book (meaning, it doesn’t fit into one of their pre-defined genres.) It’s much easier to sell a thriller to New York because they know how to market a thriller, they can look at the book and see exactly who the audience might be. It’s much harder (not impossible) to sell a book that doesn’t neatly fit into one of the pre-established genre shelves at Barnes and Noble.

I’m certainly not opposed to self-publishing. There are many authors who have chosen self-publishing to great personal and professional success. Sometimes it’s because they’ve tried New York and couldn’t break out, but had built a solid readership who then moved with them into the digital world where they were able to grow and thrive. Some were successful in New York, but for one reason or another felt they would be more successful in the indie world. Others don’t fit neatly into the mold, but readers simply like good stories and therefore they found a readership because they told good stories.

But with the glut of books available digitally, and so many of them really not publishable, readers are having a harder time picking the wheat from the chaff.

I am disheartened that so many aspiring writers have completely forsaken the process in the rush to be published. It’s your name on the book. You’ve spent hundreds of hours writing a book—usually while working at another job or raising a family. You wrote that book in your free time, meaning it had value to you—you sacrificed doing other things in order to write. Respect yourself! Respect your time! You deserve to invest in that book, to make it as strong as it can be.

If you want a career as an author, if you want to build a readership and grow your audience, the process is important—whether you walk down the traditional path or the indie path or, like many, a combination of both.

If I was starting today, I would have self-published Hot Latte and, in effect, lowered the bar for myself. It was a complete story, it had great characters, and it was cleanly written. Yet … it wasn’t a good book. I didn’t see the flaws because I didn’t know what to look for. It took me many books before I could see the flaws in my own work. Even now, I don’t always see the problems and am grateful to my editor because there is always something I can do better.

And that’s my goal: to make every book better than the last.

I’ll pop in and out today to talk about anything you want or answer questions! I’m easy that way 🙂

Oh, and for my BSP … COMPULSION, book two in the Max Revere iAllison Brennan_Compulsionnvestigative reporter series, is on sale now in hardcover, digital, and audio. RT Book Reviews gave COMPULSION a Top Pick: “Brennan really pulls out all the stops in this intense, terrifying thriller!” and Catherine Coulter says, “Don’t miss Max Revere’s roller-coaster new thriller. Talk about grit and courage—Max never gives up.”

You can check it out on my website, allisonbrennan.com.

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Allison Brennan is the New York Times and USA Today bestselling author of romantic thrillers and mysteries. She’s currently writing the Max Revere investigative reporter series (COMPULSION, April 2015) and the Lucy Kincaid romantic suspense series (upcoming: BEST LAID PLANS, August 2015.) She lives in Northern California with her husband, five kids, and assorted pets.

What Did You do Today, Writers? Tell Us About It

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Jordan Dane

@JordanDane

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Purchased from IStock by Jordan Dane

Lately I’ve had a lot of personal things happening that have been a distraction from my writing. Some are good distractions, while others are more of a black hole, as if I’m walking in a fog some days.

Today I will be at a home inspection. Yes, I am buying a new home. Home buying can be a scary prospect, as well as a spark of hope for a new beginning. It can be especially scary when it comes to looking at mortgages, I was lucky that my friend told me about something like Money Expert so at least I don’t have to worry about whether or not I’m getting the right mortgage. But I have been thinking about other things. I haven’t been able to sleep much lately with thoughts of “nesting” in my head. I’m not one to second guess my decisions, but I can see how taking this step could spiral a person into self-doubt.

Buying my home might represent leaving the past behind or it could be taking a metaphorical leap off a cliff that I may or may not be ready for. It could mean putting down roots that I wasn’t sure I could do on my own, or it might be a way of setting a firmer foundation for the rest of my life, or my new home can be a gathering place for my friends and family (meaning that I am opening my life to others).

I’m buying what I hope will be my last home, a place where I can retire comfortably. Another thing on my list today is meeting with my parents. I’ll show them the house then take them for breakfast. A facet of this day’s adventure is that my folks are considering selling the family home and looking into their options going forward. They are still teaching me life lessons as they age and I may be showing them how to let go by my home adventure. I expect today will be life changing in a quiet meaningful way for the three of us.

So you see? As a writer, I can read into so many things. I can write this scenario any number of ways for a story. How much do I give a glimpse into my personal life if I were to thread this reality into a character of mine? That’s the fun part of writing for me. Is it for you? How much of your life experiences do you weave into your stories? Or do you purposefully stay away from anything too close?

Another aspect to this story could be that I’m buying a home from a previous tenant. Who were they? Is there a mystery that surrounds their life? What clues could they leave behind for me to find? This property has an amazing terraced garden. I can feel the love of the gardener in every rare plant grown with such care. It makes me want to plant my own contributions with as much thought and diligence, so that I can pass the love on to the next “gardener.” I have a plan to create a beautiful garden storage space when I thought “garden site sells timber storage” spot on.

The point to sharing this tidbit with my TKZ family is that it can be important to remember how even the mundane aspects of your life can hold a story. This is one thing I am doing today that can turn into a story in books ahead.

So I’ll give you a homework assignment. I’d like you to jot down what you did today, right down to what you ate for lunch and where you ate it. Then pick something from your list to share what might make a good story, similar to how my home inspection launched a range of emotions in me.

Go on, TKZers. Share your day with me.

What the heck is the Inciting Event?

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Today TKZ welcomes K.M. Weiland as our guest blogger. Katie will be sharing a critical but often misunderstood element of the novel: the Inciting Event. Enjoy her insights and be sure to visit her highly informative, award-winning writer’s blog, Helping Writers Become Authors.

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katie1What the heck is the Inciting Event? That’s a question just about any writer can answer. The trouble is that sometimes we all have a different answer.

  • Is the Inciting Event the first thing that happens in the story?
  • Is it the moment that kicks off the plot and the conflict?
  • Is it the First Plot Point at the end of the First Act?
  • Is it something in between?
  • Is it something that happens before the story ever starts?

The chief trouble with identifying the Inciting Event is that the term is used rather wildly to apply to just about any of the above. One writer calls the Hook the Inciting Event, another calls it the First Plot Point. Argh! No wonder we’re all so confused.

Structuring Your Novel IPPY Award 165The confusion has grabbed me in its claws as well. In Structuring Your Novel, I wrote the following about the Inciting Event:

What’s important isn’t so much nailing down your Inciting Event to a specific place in the story, as it is presenting the Inciting Event at the optimal moment. Sometimes that means throwing the Inciting Event at readers right away, and sometimes that means holding off a bit.

I admit it: that’s a little vague, isn’t it?

Since writing Structuring Your Novel, I’ve made some extremely interesting discoveries about the Inciting Event, which have helped me refine my own stories far more than did such vague notions. So let’s all advance our understanding of this frustratingly important moment in our stories, shall we?

The Single Most Important Thing to Understand About “The Inciting Event”

The most important thing you can take away from this post is this: There isn’t just one moment that can be called “the inciting event.” There are three.

The vast majority of confusion over this structural pillar is the fact that we find different writers referring to three very distinct moments in the story by the same name. I’ve been guilty of it too, if only because I hadn’t yet grasped the differences between the three. These three different story structure moments are completely different from one another and all equally necessary to your story.

First Act Timeline

The 3 Different “Inciting Events”

1. The First Moment in the Story

Probably the most common understanding of the Inciting Event is that it’s the first moment in your plot. This is the beginning of your story–possibly even the first sentence. This opening scene will introduce your main character and the main conflict. It’s the first domino in the line of dominos that forms your plot. It’s the beginning of your story. If you open before this moment, then you’ve opened too soon.

Why We Think This is the Inciting Event

It’s no wonder we think of this moment as the Inciting Event. “Incite” seems to indicate the match striking the tinder of our plot. Therefore, this moment necessarily has to be the starting point, right? Well, yes and no. Yes, this first moment in your plot is what starts the whole thing moving. But, no, this moment is more about introducing your story than inciting it.

What It Really Is

This first crucial moment in your story is more properly the Hook. There is, of course, more involved in the Hook than just this (namely, its responsibility to grab your readers’ curiosity). But the Hook is the first structural moment in your story. It’s the first interesting moment, and, as such, it’s what flicks over that first domino and starts things rolling.

Where It Belongs

This opening moment–the Hook–belongs (surprise!) in the opening. It’s your opening scene–the first thing that happens in your story–possibly even the first line.

What We Should Really Call It

The Hook.

Examples

Bram Stoker’s Dracula opens with Jonathan Harker arriving in Budapest on his way to meet with his strange client, Count Dracula. This moment launches the plot (after all, prior to Harker’s meeting with Dracula, there is no story) and grabs reader curiosity.

Your Book’s Inciting Event: It’s Not What You Think It Is

Stephen Spielberg’s Raiders of the Lost Ark opens with the famous sequence in which Indy–dogged by his nemesis Belloc–infilitrates the South American temple and steals the golden idol. The sequence itself has nothing to do with the main conflict, but it brilliantly introduces the protagonist, grabs the viewer, and kicks off the rivalry between Indy and Belloc.

Chris Wedge and Carlos Saldanha’s Ice Age kicks off with the subplot character Scrat, whose single-minded pursuit of his acorn causes the Ice Age.

2. The First Plot Point

Okay, so if the Hook is something different from the Inciting Event, then perhaps the Inciting Event is the all-important big moment that happens at the end of the First Act: the First Plot Point. The First Plot Point is where your story gets going in earnest. Something dynamic and irreversible happens at this moment. It kicks your character forever out of the passivity of his Normal World and launches him into a desperate series of reactions as he scrambles to gain some control over the conflict.

Why We Think This is the Inciting Event

Like I said, this is the moment where your story really begins. This is the moment that fully engages your character in the conflict. He couldn’t walk away now, even if he really wanted to. It’s definitely a moment that incites your character. But if this is the first incendiary moment in your story, then your pacing is likely to be pretty dull. Remember, the First Plot Point is going to take place around the 25% mark in your story. Something had to happen in between the Hook and the 25% mark, right?

What It Really Is

The First Plot Point is just that–the First Plot Point. It’s the doorway between the end of the First Act and the beginning of the Second. It’s also very likely to be the Key Event (which I’ll get into below).

Where It Belongs

The First Plot Point always ends the First Act. Optimally, it should be placed at the 25% mark.

What We Should Really Call It

The First Plot Point.

Examples

In Dracula, the First Plot Point is the moment when the dreaded Count arrives (via spooky shipwreck) in England. Lots happens prior to this scene, but this is the moment that irrevocably engages all of the main characters in their mortal struggle with the vampire.

In Raiders of the Lost Ark, the First Plot Point occurs when the Nazis burn down Marian’s bar, forcing her to escape with Indy to Cairo. Again, lots happened prior to this, but this moment irrevocably launches the main plot by bringing the two primary characters together and sending them to the primary setting.

Your Book’s Inciting Event: It’s Not What You Think It Is

In Ice Age, the First Plot Point happens when Manny and Sid rescue the human baby and meet Diego. This launches their main story goal (return the baby to his father) and the main conflict with the saber-tooth tigers.

3. The First Act’s Turning Point

And now, at last, we reach the secret member of our trio of “Inciting Events.” This is a vital structural moment–and yet most authors overlook it completely. Halfway through the First Act, something happens–a turning point. Usually, this is the Call to Adventure (which the hero starts out by rejecting). It’s the moment when his Normal World is significantly rocked by the conflict for the first time. His world won’t yet be upended by that conflict (not until the First Plot Point), but we might think of it as the moment when the match is officially lit and held over the tinder of the conflict.

Why We Think This is the Inciting Event

Technically, most writers don’t think of this turning point as the Inciting Event for the simple reason that they really don’t think about it at all. But let’s think about it now, shall we? Aside from breaking up the potential monotony of the First Act and providing focus for the first quarter of the story, this turning point fulfills one of the most important roles in your story’s beginning.

The first eighth of the story (from the Hook to this turning point) is all set-up. Readers are familiarizing themselves with your characters, figuring out the characters’ goals, and learning the stakes. Readers need that time in order to get their bearings before the main conflict really starts heating up.

Then comes this all-important turning point at the 1/8th mark (around the 12% mark). It shakes everything up, redirects readers’ focus to the primary conflict, and sends the protagonist hurtling right for the deciding moment of the First Plot Point.

The next eighth of the story (from the turning point to the First Plot Point) is where you then start positioning the final pieces necessary for the main conflict, while ramping up the tension to lead right into the First Plot Point.

What It Really Is

This turning point doesn’t have a proper name other than the Inciting Event. It’s the moment that truly launches the main conflict. It’s inciting and (hopefully) exciting. When I talk about the Inciting Event (including in the Story Structure Database), this is the moment I’m referring to.

Where It Belongs

The Inciting Event–the turning point in the First Act–should optimally be placed at the 12% mark, halfway through the First Act. The timing is important because it gives you the space you need in the beginning of the book to get everything set up, and then provides the necessary space to build upon the Inciting Event before you reach the place of no return that is the First Plot Point.

What We Should Really Call It

The Inciting Event.

Examples

In Dracula, the Inciting Event is the moment (back in Budapest) when Harker first witness the Count’s unearthly powers when he sees Dracula crawling down the castle wall, upside-down.

In Raiders of the Lost Ark, the Inciting Event occurs when Indy is summoned from his classroom and recruited by the U.S. government to track down the Ark of the Covenant.

In Ice Age, the Inciting Event occurs when Manny the mammoth and Sid the sloth meet for the first time.

Your Book’s Inciting Event: It’s Not What You Think It Is

How Does the Key Event Play In?

The final element in this intricate tapestry is the Key Event. What is the Key Event? Think of it as the missing half of the Inciting Event. The Inciting Event Screenplay Syd Fieldkicks off the plot; the Key Event is what then involves your character in the Inciting Event. In Screenplay, Syd Field describes it like this:

The Inciting incident… sets the story in motion … [while] the key incident [is] what the story is about, and draws the main character into the story line.

As such, the Key Event will always take place after the Inciting Event and within the First Act. Almost always, the Key Event will coincide with the First Plot Point.

The Inciting Event (remember: that’s the turning point halfway through the First Act) brings the conflict to the protagonist’s awareness. But the protagonist still won’t fully engaged with the conflict. He may make a half-hearted attempt to resolve it. Or he may try to walk away from it entirely. Until the Key Event.

The Key Event is what sucks him irrevocably into the conflict. Sounds an awful lot like the First Plot Point, doesn’t it?

  • Dracula‘s main conflict is that of his preying upon the Englishwomen Mina and Lucy. As such, the Key Event occurs at the First Plot Point when he is shipwrecked in England, bringing the conflict right to their doors.
  • Indy’s Key Event is also his movie’s First Plot Point, since it is both the first time Indy has engaged with his Nazi antagonists and also the moment when he becomes personally involved thanks to his relationship with Marian.
  • Same for Ice Age. Up until the Key Event at the First Plot Point, Sid and Manny didn’t even know about the human baby’s danger, much less have any stake in helping him.

If we recognize the Inciting Event as this oft-overlooked turning point in the First Act, the entire structure of our beginnings becomes much clearer, much tighter, and much more effective. Take a look at some of your favorite books and movies. How are they using the time before the turning point to set up their stories–and then utilizing the turning point to tighten the focus up until to the First Plot Point? Even more importantly, how can you do the same in your own stories?

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K.M. Weiland lives in make-believe worlds, talks to imaginary friends, and survives primarily on chocolate truffles and espresso. She is the IPPY and NIEA Award-winning and internationally published author of the Amazon bestsellers Outlining Your Novel and Structuring Your Novel, as well as Jane Eyre: The Writer’s Digest Annotated Classic. She writes historical and speculative fiction from her home in western Nebraska and mentors authors on her award-winning website Helping Writers Become Authors.