Transitions

Transisitions
by Terry Odell

On last Friday’s question, one person commented on transitions being hardest for her to write, so I thought I’d address my approach to the subject here.

TransitionsWhen we moved to Colorado, we did a lot of remodeling. We have a small tile area in front of the fireplace. We installed ¾ inch hardwood for the rest of the floor. One of the challenges the contractors faced was making sure the transition between tile and wood was smooth, because the new hardwood was thicker than the pre-existing laminate flooring.

In your manuscript, you have to decide how you’re going to get from one time or place to the next. You don’t want people tripping when they move from tile to wood. That’s why paying attention to transitions is important.

There are ‘big’ transitions: Switching POV characters, chapter breaks, and scene breaks. There are the ‘little ones: Making sure every sentence, every paragraph follows logically from the one preceding it. As you can see, it’s a broad topic, but I’ll try to hit some of the high points.

When I started writing, I felt obligated to be with my characters 24/7. It was a major writing breakthrough to be able to write, “By Friday” when the previous scene was on a Wednesday. Skip two days? Gasp! Things had to be happening. And they were, but they weren’t anything that moved the story. There are other ways to show passage of time. Some authors like to date/time stamp scenes and chapters. There are scene breaks. Or, just some extra white space.

Formatting note: if you’re indie publishing, some of the conversion software (for ebooks) assumes extra returns are mistakes, and removes them. Print is another matter. For ebooks, I take the cautious approach and use a marker. If it’s a break within a scene, and my normal scene breaks are ~~~, then I’ll use a single ~ to show I’m with the same POV character, same scene, but time or place has changed.

For new chapters and scenes, I want to make sure I’m grounding the reader in the who, where, and when. For my romantic suspense books, each chapter usually has 2 main scenes, one from each character’s POV. That requires a bit of leapfrog mentality from the reader.

The last sentence of a scene often won’t lead into the first of the next. There has to be a way to remind the reader of: first, whose scene this will be, and second, where the previous scene ended. And, if time has passed, there has to be a way to indicate that as well. When you shift scenes or chapters, look at your opening paragraph. Is it description? Yes, you want to show the reader they’re somewhere else, but it can be more important to show the reader who they’re with first. Keep them involved with the character; don’t slow the read to describe the sunrise.

An example: Protag Graham has a POV scene in Chapter One. We’ve learned he’s a patrol cop with a goal of a transfer into a detective position. He’s in competition with another cop, Clarke. That scene ends with the following, which was clearly in Graham’s POV. He’s been thinking of the woman he just met in his investigation.

Laughter erupted from the room. The sound of his name, coupled with Clarke’s guffaws, eradicated Colleen’s image like wind-blown storm clouds. Dammit. It had been five years. He was a damn good cop, and he was going to beat Clarke into CID no matter how many times the arrogant bastard tried to dredge up his past.

He appears again in Chapter Two, but not as a POV character. His next turn center stage is in Chapter Four. Here’s the opening:

Graham finished filing his reports, surprised to see it was four-thirty. Instead of going home, he drove to Central Ops. Roger Schaeffer in CID might let him poke around a little. The lieutenant seemed to be one of the few who thought Graham had a shot at the CID spot. His recommendation could make the difference.

For this scene, I opened by using Graham’s name (who), and also a time reference (when). The where, Central Ops is mentioned. Also, by showing something only Graham can be aware of (his surprise at the time), we’ve established it’s his POV scene. If there was any doubt, the rest of the paragraph is internal monologue, thoughts only Graham would know.

Another good reason for clear transitions between chapters and scenes is because those tend to be the logical stopping places for readers. If they’re not picking up the book until the next night—or later, but we hate to think they could possibly wait that long to continue reading—it helps if they don’t feel that they have to back up to get a running start.

You also have to consider the ‘mini-transitions.’

Whether you’re writing narrative or dialogue, there has to be a clear and steady flow from one sentence to the next, from one paragraph to the next. Just as you need transitions between scenes, you need transitions between individual paragraphs. And sentences. Consider dialogue. Normally, in conversation, if someone asks a question, we’ll answer it. Whatever the person who asked the question happens to be doing or thinking is going on simultaneously with our hearing the question and giving our response.

But in writing, if you stick all those internal thoughts and gestures in, it’s likely your reader will have forgotten the question. Look out for tacking on sentences after a character has asked a question. That’s not the best place to include it.

How do you handle transitions? Tips or problems you’re looking for help with? I’m sure there are a lot of folks here willing to chime in.



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

8+

Ask Yourself Why

Ask Yourself Why

Terry Odell

Ask yourself why

Image by Anand Kumar from Pixabay

Everyone, I’m sure, has heard of using the “What if?” question to start a story, and to help move things along throughout. But for me, there’s an even more helpful question for me while I’m writing. WHY?

Disclaimer. I’m not a Plotter. Not a true Pantser. More of a Planster.

In one of his workshops, James Scott Bell has an exercise designed to help you understand your characters. There, he sets up a scene of a gorgeous room with a huge picture window overlooking a pastoral view and your character picks up a chair and throws it, breaking the window. He asks Why he or she would do that.

While that can be helpful when it comes to characterization, my question relates to the story. Even though we write fiction, it has to come across as reality. One technique I use to make sure things seem “real” is to ask myself Why a character would do or say something.

If the answer is “Because I need it for tension/conflict/humor/plot advancement,” it’s probably wrong. When I was writing Danger in Deer Ridge, the first major ‘error’ I spotted in my opening draft was having the hero appear while the heroine was looking in her car’s trunk for her tool kit.

  • Why didn’t she hear him drive up?
  • Why did he park the truck there?
  • Why did he come down without a toolkit of his own?

All these Why questions require answers. Answering them drives the story forward for me. My thought processes might not end up on the page, (and this is most prevalent in the early chapters, while things are taking shape) but the results do.

So, where it ended up: She didn’t hear him drive up because he parked at the top of the drive. Why?

He parked the car there because his son is asleep in the truck. It’s a quiet rural area, one he knows well, and he’s not concerned that someone will come by and Do a Bad Thing.

That’s still weak, so I added a dog who would take the head off of anyone who tried anything. (Note to self: don’t forget you’ve now saddled yourself with yet another ‘character’ to keep track of.)

More Why questions.

Why not go all the way down the drive? It’s steep, curves, and riddled with potholes, and he doesn’t want to wake the kid.

Weak. What if he’s not an experienced father? Why not? Because his wife left him, took the kid and remarried, and he hasn’t seen the kid since he was an infant.

Why does he have the kid now? Because the ex-wife and the boy’s stepfather were killed in a Tragic Accident? Works for now. (Note to self: revisit this before Grinch has to tell anyone about it.) Also, having him a new and inexperienced father allows for more conflict between hero and the Very Caring Mother who is our heroine.

More notes: Why doesn’t the hero work for Blackthorne, Inc. when the book opens, since the other books in the series open with a scene of a Blackthorne op. Why does he live conveniently near the heroine’s new digs?

By the time I’d written the scene, answers to my Why questions gave me more insight into my characters. I realized that the hero’s friendly demeanor and magnetic grin weren’t consistent with a man who’s worried about leaving a young child asleep in his truck. I ended up tweaking that scene, which added to the tension, because the heroine sees someone who’s in a rush, who keeps looking over his shoulder. She extrapolates from her own secret-keeping life, and it seems logical for her to worry that this guy might be out to get her.

If you don’t want your story to seem contrived, try asking yourself “Why?”

What other questions help you move forward in your writing?



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

12+

Romantic Suspense – An Overview

Romantic SuspenseIn a comment on a previous post, one TKZ reader asked about romantic suspense. Since I write in that genre as well as mystery, I’ll try to respond.

At first glance, the answer seems obvious. Romantic Suspense books have both romance and suspense. However, that’s a very broad definition, and in order to write in the genre, one needs to dig a little deeper.

Is it a romance novel with a suspense sub plot?
Or is it a suspense novel with a romance sub plot?

How are they divided? 50-50? 60-40 romance because it’s Romantic Suspense? Or 60-40 suspense because it’s Romantic Suspense? Or something else?

In truth, it’s none of the above, so let’s back up and look at the definitions.

According to the Romance Writers of America (presented long before the recent implosion and I think their definitions/guidelines still hold), a Romance is defined as a novel containing a central love story and an emotionally satisfying and optimistic ending.

A Central Love Story: The main plot centers around individuals falling in love and struggling to make the relationship work. A writer can include as many subplots as he/she wants as long as the love story is the main focus of the novel.

An Emotionally Satisfying and Optimistic Ending: In a romance, the lovers who risk and struggle for each other and their relationship are rewarded with emotional justice and unconditional love.

Romance novels may have any tone or style, be set in any place or time, and have varying levels of sensuality—ranging from sweet to extremely hot. These settings and distinctions of plot create specific subgenres within romance fiction.

One of those subgenres is romantic suspense. What does RWA say about that?

Romantic Suspense: Romance novels in which suspense, mystery, or thriller elements constitute an integral part of the plot.

You’ll notice the definition does not single out suspense. Instead, it adds mystery and thriller. And my own personal bugaboo is that RWA chose to call the entire subgenre “Romantic Suspense” when the mystery genre is also in there. A mystery is not a suspense, and vice versa.

Let’s look at those genres that fall under the mystery umbrella. Author and former agent Nathan Bradford sums them up thusly:

Mysteries have mysteries, i.e., something you don’t know until the end.
Suspense has danger, but not necessarily action.
Thrillers have action.

A bit simplistic, but it’s a start. An easy way to think of it is in a mystery, the reader follows the protagonist and doesn’t learn anything until he or she does. Think Sherlock Holmes.

In a suspense, the reader is one step ahead of the protagonist and knows facts before he or she does. Think Alfred Hitchcock.

Can your book have both? Yes. In my Finding Sarah, the story begins with a mystery, and both characters are working together. But when Sarah disappears, readers will see what’s happening from her POV, and they’ll know more than Randy. Likewise, as Randy discovers clues, the reader will know them but Sarah won’t. Moving your characters apart can increase the suspense aspect of the book.

What about thrillers? The older definition of a thriller was “a suspense novel with consequences of global proportions”, but the lines between suspense and thriller have blurred. A thriller has more action, should have higher stakes, but often the stakes and/or consequences are only for the characters and don’t reach far beyond the setting of the book.

(Side Note) At a conference, I asked Lee Child whether he thought thrillers had been “watered down” as a way for publishers to attract a wider audience, because I’ve seen reviews for some of my Blackthorne, Inc. books that refer to them as thrillers, which was not my intention when writing them. He gave me a serious look (from way up high, because he’s tall and I’m not.) He said, “Do you want to know the difference between thriller and suspense?”

Duh. Of course I did. This was Lee Child, after all. He said, “It’s an extra zero on your advance.”

So, for the purposes of this post, I’m lumping thrillers and suspense in the same box. Now, back to my initial question, taking the RWA definition of romantic suspense into consideration.

Romance novels in which suspense, mystery, or thriller elements constitute an integral part of the plot.

Note the word integral. The two elements are entwined so you cannot remove any of the mystery/suspense elements without the book collapsing. Likewise for the romance. If you can remove either of those elements, you don’t have a romantic suspense.

When you’re writing you should be writing 100% romance and 100% mystery/suspense.

Sound hard? You’re right. It is.

 



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

 

10+

Stay in the Phone Booth With the Gorilla

Stay in the Phone Booth With the Gorilla
Terry Odell

One of my critique partners is a computer programmer by trade, and one of the things we frequently mention in our critiques is how much detail is needed, and when. His mind works in a very logical fashion, and he’s always looking at every what if possibility. Normally, I’m pointing out where he doesn’t need to cover all the possible permutations of any given situation. But once in a while, he’ll catch me dwelling on unnecessary details. I figure when he sees them, I probably need to cut.

When I’m writing my police scenes, I do like my character to weigh all the options, since they’re trying to piece together clues, and often they don’t know what’s a clue and what’s not. But in an action scene, it’s important to remember to stick with the action. This isn’t the time to have your characters stop to reflect on the past. Dripping in back story should be done judiciously, and it’s probably never appropriate in life-threatening situations. Or even tension-filled scenes. Here’s an example from when I was working on Dangerous Connections:

My heroine, an undercover Vice cop, was supposed to use her “feminine wiles” to distract another character so the hero could mess with a computer program. I had her thinking about her job, because I wanted to make it clear that because she worked Vice didn’t mean she was experienced at seducing men.

Elle shoved her mind to the place she sent it when she was working a major sting. Truth of the matter, her day-to-day routine working vice didn’t involve seduction. Seduction could lead to claims of entrapment, and that was a headache for everyone. The johns weren’t fussy, and they didn’t want romance. All she had to do was get the money to change hands, and someone from her unit would show up and take them both away so as not to break her cover.

My partner’s comment: “I think you need to stay in the phone booth with the gorilla.”

Where did that come from?

Here’s an explanation from Robert Newton Peck’s Secrets of Successful Fiction:

Alma walked hurriedly down the dark and deserted street. Hearing footsteps echo behind her, she darted into a telephone booth. Before closing the door, Alma Glook knew she was not alone. With her in that phone booth was a five-hundred pound gorilla.

“Help!” yelped Alma.

Seeing the gorilla, her thoughts turned back in time to when she was a little girl, back home in Topeka, living with her aunt Mildred who was a taxidermist and scratched out their meager living by stuffing gorillas. In fact, her aunt had earned quite a reputation in college when she had, as a prank, stuffed nine gorillas into a phone booth.

Your readers aren’t interested in Alma’s past right now. They want to know how she’s going to deal with the gorilla. And the readers probably don’t need to know the ins and outs of working Vice. They want to know if Elle is going to be able to distract Bill so Jinx can do what he’s supposed to do.

A character’s thoughts can reveal a lot. Just be careful where you insert them.

Deadly FunMy new release, Deadly Fun. I’m sharing all March royalties with the National Multiple Sclerosis Society.



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

6+

Who’s the New Kid?

Who’s the New “Kid”?
Terry Odell

Terry Odell LogoWhen I opened the email inviting me to become a contributing member of The Kill Zone Blog, I was honored. I’ve been reading the blog for years, making comments, but move to the other side of the page? Scary. The other contributors have set a high bar. But I accepted the invitation, so here I am.

Who am I?

I’m someone who did not start out with aspirations of becoming a writer. I did not write my first story in crayon. The one time I thought about putting a story idea onto “paper” (we were well into the word processor age by then), the tedium of getting dialogue punctuated correctly put a halt to that project.

You could say I became a writer by mistake, through a chance introduction to the Highlander television series. You can read that whole misadventure here. I’ll wait.

Back? I’ll continue.

Eventually, punctuating dialogue became automatic, I joined a local writing group (The Pregnant Pigs, and that’s another story), and I looked forward to sitting down to play with my characters. Honestly, I was having fun, and had more of an If someone knocks on the door and asks if I have a manuscript, I’ll say yes mentality. But my fellow Piggies pushed. I found an agent, which meant my rejections came faster and were worded more politely.

My road to publication started with e-publishers back in the day when people were reading on their computers or PDAs. I had some romance short stories published by The Wild Rose Press (I was their first contracted author), and some romantic suspense novels published by the now defunct Cerridwen Press. I had a trio of books published in hard cover by Five Star, which targeted the library market. When my first Five Star book was remaindered and I got the rights back, the Kindle had just come into being, and with it, indie-publishing. I figured I had nothing to lose, and ventured down that road.

And, that’s where I am now. A purely indie-author, and happy to be one. I have 22 novels, 3 novellas, 2 short story collections, plus some bundled works out there. (I had to check.)

What do I write?

Odell booksThis blog is focused on mysteries, and I have a mystery series (Mapleton Mysteries) with 5 novels (the 5th, Deadly Fun, drops on February 24th) as well as three novellas. My collection of mystery short stories, Seeing Red, happened to win the Silver Falchion Award in 2015. (There’s a story there, too, but that’s for another time.)

However, despite thinking I was writing a mystery, my first manuscript, according to my daughters, was a romance. Given I’d never read a romance, that came as quite a shock. I realized that when I read mysteries, I was just as interested in what went on in the “off duty” lives of the characters as I was in solving the crime. Thus, I call all my books “Mysteries With Relationships” even though three of my four series would be classified as romantic suspense, or mystery romance.

My series: the Mapleton Mysteries, Pine Hills Police, Blackthorne, Inc., and the Triple-D Ranch series. Most of them are also available as audiobooks.

That’s the writing side of me.

FeebieThe personal side: I grew up in Los Angeles, graduated from UCLA, taught junior high, moved to Florida, raised a family, and now I live in the Colorado Rockies with my husband and rescue dog, FBI SAC Odell, but we call her Feebie.

 



Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.” Follow her on Facebook and Twitter.

 

8+