Tip O'Day #433 - Surprise!

Guest blogger Edward McKeown on how your characters can catch you unawares.

The Fenaday Trilogy was a constant source of surprises to me. The first and biggest was that it was a trilogy. I set out to write one book, the story of as ordinary a man as I could plausibly use to accomplish the adventure I was setting before him. Something immediately became apparent; if he was an ordinary man, he would need motivation to leave his homeworld and plunge into danger and death.

He was not a professional hard case, a military officer or true mercenary, not a thug or an adrenaline junky. So why would he do this? The thing that struck me as being the most believable motivator for such sacrifice was love. His wife, a naval officer, had gone missing and his love for her was such that he would throw aside any security he had and search the stars as a privateer for her. So now we had Robert Fenaday, son of a wealthy merchant family, with the resources and know-how to start this adventure.

How would my everyman survive the adventures of Was Once a Hero, Fearful Symmetry and finally Points of Departure? He was not born to, or well-suited to the quasi-criminal world he was descending to. The answer came in the first of many surprises, a genetically engineered woman warrior named Shasti Rainhell. She was fleeing her past and her own homeworld. They would shelter each other, he with his ship for her, and she with her deadly skills with him. Together they would run the Starship Sidhe through its initial perils.

More surprises awaited me. Shasti demanded to be more than a sidekick. She was a powerful voice with her own realities. This demanding past became the backdrop to Fearful Symmetry, the second book. Fearful was a book of intrigue, adventure and self-awakening as Robert and Shasti sought to free themselves of their pasts so they might embrace a future that held each other.

But the past has a way of reaching out for you and some ghosts are not easily laid to rest. That gave rise to the third book, Points of Departure, which is due out later this year. As for that tale…well, no spoilers here. Hope you enjoy the work.

Saying for Writers #155 - Leigh Brackett

A Quote which Might (or Might Not) Inspire You to Write:

“Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion — that’s Plot.” — Leigh Brackett

The Montana Rockies captured by friend Sherri Gerek.

One-Sentence Writing Tips from my Facebook friends will be featured here on the Wredheaded Writer blog all next week -- if you feel inspired, there's still room for more.

Interview of SciFi author Mary Fan

The genial host of Wredheaded Writer blog, Dixon Rice, interviews author Mary Fan about Artificial Absolutes, her newly released SciFi novel.

Dixon Rice: Mary, I love that you originally developed the Jane Colt character as a protagonist in another genre. When that didn’t work out the way you wanted, what made you decide to send her into outer space?

Mary Fan: I’ve been a huge fan of science fiction for ages, especially space operas, and I always knew I wanted to try my hand at the genre. One thing I noticed about most space operas is that they tend to center on either a well-trained, experienced fighter or a Chosen One. Meanwhile, we never really get to hear about the not-so-special people who occupy the rest of the galaxy. They are treated as extras—props, almost. Still, every person has a story. I was thinking about all this, and meanwhile, I had this relatively ordinary character without a story. I thought, why not combine the ideas?

DR: The kidnapping of Jane’s friend seems to be the key that starts the story’s engine. Caring for a friend - that’s a surprisingly personal trigger for a SciFi tale. What made you pick that event, rather than a more typical “saving mankind” premise?

MF: When I set out to write Artificial Absolutes, I knew I wanted to write a different kind of space opera. Like you said, saving the universe is a pretty typical premise. I’ve always wondered about the lives of those who weren’t out to stop the apocalypse, those who inhabit the expansive and fascinating worlds of the future.

I also wanted the story to be more personal than a lot of what’s out there. In the grand scheme of things, the stakes in Artificial Absolutes are pretty low; it’s one girl’s life out of trillions that’s being affected. On the other hand, in her personal world, the stakes couldn’t be higher. Those are the people she cares about who are in danger. That the rest of the world will go on turning while hers falls to pieces is a source of great aggravation for Jane.

DR: After Adam is kidnapped, Jane’s older brother Devin is framed for murder. Hmmm, another relationship trigger. How important are relationships in your life?

MF: Relationships are, of course, important to me. Our experiences lose significance without people to share them with. Relationships drive the things we do and the way we think. Even the most independent people are influenced by the people around them, often subconsciously. The things people say have the ability to invade our thoughts without our notice. These kinds of influences are at the core of Artificial Absolutes. What the characters do influences those they interact with, often in ways they don’t realize.

DR: Transplanting Jane Colt from another genre into SciFi – one might say you wrote a SciFi story by accident. Do you intend to repeat that mistake?

MF: Oh, definitely. Science fiction is one of my favorite genres, both to read and to write. It transports a reader to a different world and allows a writer to explore the infinite what-ifs. I wouldn’t say I wrote a SciFi story by accident, but the story I ended up with is rather different from what’s expected from the genre.

DR: The concept of artificial intelligence has been around since the robot stories of the 1950s, maybe earlier. What’s new and fresh that you bring to AI?

MF: I can’t say too much without spoiling Artificial Absolutes, but I can tell you this: much of what I write concerning artificial intelligence has little do with technology. I use the idea of artificial intelligence to explore broader themes, such as consciousness and the nature of artificiality, as well as influence and perception of self. The more we learn about neuroscience, the more philosophers and scientist debate the nature of consciousness. If so much of who we are is printed in our genes, controlled by chemicals in our brains, and influenced by external forces, then how real are any of us? How many of our thoughts can we really call our own? Artificial intelligence is used as a metaphor as well as a plot point.

DR: What’s with all the musicians and songs? Do you whistle while you work?

MF: I love music. So much, in fact, that I studied it in college. Music wasn’t part of the original plan for Artificial Absolutes, although the struggle Jane faces about whether to pursue her passion or to take the smart career path was in the earliest versions. I found music to be a more natural subject for me to write about than her original dream job (painter). Once I made that change, music just wove itself into the fabric of the novel. It’s a part of Jane, and so it became a part of her story.

And while I don’t whistle while I work, I do find myself staring off into space and humming when I’m stuck on a particular passage.

Mary Fan’s SciFi novel Artificial Absolutes is now available as paperback and eBook at Amazon and Barnes & Noble.

Tip O'Day #415 - The Best POV

Guest blogger Carolyn Arnold says “First Person POV Can Save Your Writing.”

All of us -- both as authors and as readers -- want characters we can relate to and connect with. Nothing can kill a plot much faster than cardboard shadows roaming the pages. I’m sure we’ve all been victim to this plague at one point or another, whether the infection has been injected by us as the author, or we’ve tried to read a book that has them.

The question as an author is, how can we avoid flat characters and get ones our readers feel they can pinch?

When we start out writing, we all have areas we can improve on. In fact, even once we may have “mastered” one technique or area, we’ll find there are still ways to sharpen it further. That’s why I always say that writing isn’t a destination but a journey -- a metaphor that holds true in so many ways.

So if we are to improve our craft, the old adage, practice makes perfect, is always in play. When I started out writing, I didn’t even know where it was headed. My goal was simply to write a full-length novel. I didn’t see beyond that until a few months after I finished the first draft. And it wasn’t until I wrote Ties that Bind, the first Madison Knight novel, that I realized how serious writing was to me. Going from a single goal to a lifestyle, I was reborn an author. It’s quite likely my situation mirrors your own. You may also relate to the fact that once you decide you want to make money with your books and have people “out there” read them, you have to refine them to the point of exhaustion, and beyond.

Along my journey, I discovered I needed to sharpen my characterization. I went back to Ties that Bind repeatedly revising and tightening until Madison Knight came alive off the page. It was at this point I proudly published the novel satisfied she was relatable and like a real woman I could run into on the street.

This didn’t happen overnight. As mentioned, it took many return visits to the manuscript and time. Maybe you’re wondering how I knew what I was looking for? Here’s how: writing first person POV saved my writing.

Possibly you’re cocking an eyebrow right now, or smirking at the statement, but it’s true. Think of it this way: the most popular point of view to write in is third close. That is the use of “he” and “she”, where as the author you’ve distanced yourself immediately by pulling out of the character’s head. You may argue that third close gives you “insider knowledge,” and it does if executed properly. That latter part is the key. So, how do you get there?

Think of writing first person. The use of “I,” “me,” “we” and “us” become the terms used in this point of view. It instantly feels more personal. By using “I” and looking at emotions and situations in first person, you are right inside that character’s mind. You feel what they feel, see what they see, hear what they hear, and smell what they smell.

In consideration of this, my suggestion to all authors is: write something in first person.,/p>

For myself, this came in the form of a full-length novel (Restitution, not yet published). But you don’t have to write a novel. Why not just try a short story, or if you’re struggling with a scene, re-work it (for your purpose) in first person?

Close your eyes. Immerse yourself in the scene. Breathe in deep and focus. You are your character. How do you feel? What do you see? What do you hear? You get the idea.

By writing in first person, it benefits your writing in at least two ways:

1. It strengthens your intimacy with your characters, and in turn, your readers -- even when writing in third close. In fact, I find when I’m writing close third in a first draft, I have inadvertently put “I” because I felt that close with the character.

2. It takes away any hesitation to branch out and try something new. This is very important, because as author as we must continually challenge ourselves.

For myself, after I wrote Restitution, that was then I revisited Ties that Bind. In fact, at the time of this post, I have written three novels utilizing this point of view with a fourth in the works. Here’s another challenge for you: switch off between first and third to play with the plot of the story and further heighten conflicts and create more suspense.

Of course, my advice to all authors, write any story the way it demands to be told. For me, I took on the challenge of mixing first and third in a few thrillers I have written. My thriller/police procedural Eleven (part of the Brandon Fisher FBI Series) utilizes this and is currently available for Kindle or in print.

An effective way of switching between characters for different scenes, mixing first and third or not, is another challenge -- and another post. For now, just keep writing, and heck, why not give writing first person a try? It might save your writing.

Carolyn Arnold is the author of both the Madison Knight and Brandon Fisher FBI series. To find out more information about her available books and upcoming releases, you can visit her at carolynarnold.net or peruse her Amazon Author Page.

Saying for Writers #139 - Bradbury

A Quote which Might (or Might Not) Inspire You to Write:

“Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations.” -- Ray Bradbury

A photo of Bird Woman Falls in nearby Glacier National Park.

Tip O'Day #389 – Kill Your Editor?

Guest blogger Feather Stone discusses finding a critical eyes for your manuscript.

Until I actually hired one, I believed it was an editor's job to make the corrections, make my novel perfect. I had researched the list of editors and selected five whose interest was in my novel's genre. After interviewing each one, I selected the editor who I believed best suited my needs. We seemed to be compatible and her price fit my budget. We signed a contract and met after she read my masterpiece. I was prepared for glowing comments.

"It's going to take a lot of work," she remarked without enthusiasm.

I slumped in my chair. Crestfallen, I listened to the list of issues with the characters and the plot. She pointed out important areas that I had glossed over leaving the reader confused. And, she hated the ending.

"But otherwise," she brightened, "it is well written. It's got intrigue and a lot of potential. I'll work with you if you're willing to put in the work."

Okay, my naivety just got a kick in the pants. I'd spent five years creating something that came from my soul. I wasn't about to give up. My editor and I met once a month. Each paragraph was dissected mercilessly. Everything from the time of the sunrise in Acapulco to details of each scene, action, and dialogue had to be in synch with the whole.

When the editor told me to reduce the manuscript by half, I sat speechless. "If an action, character, dialogue, or scene does not add to the plot or the climax, get rid of it," she insisted.

She was right. All of my instructors had been clear that publishers are reluctant to accept large manuscripts from unpublished authors. The toil of deleting paragraphs, sometimes entire chapters was painful. Not just because beautiful scenes were being cut, but that process was complicated and exacting. If a scene or action was deleted in one area, it likely affected scenes before or after. Another two years of rewrites went by.

Then came the assignments. The shocker was to write a detailed biography of each of the main characters. At this point, I checked the contract to find the "kill the editor" clause. However, it was probably the best advice she gave. Through this process, the characters became alive. Their birth, education, goals, drives, weaknesses, sins, strengths were spelled out. Some of these traits never actually appeared within the story. However, I was able to more instinctively know what and how each one would react, say, feel in all their circumstances. The result was the reader had a more intimate experience with each character. After another year of continuous rewrites, the manuscript was ready to send to a publisher.

The education I received from my editor was worth every penny, and more. My grammar still needs improvement. But I'm now more aware what words are typically over used. And, if something can be said in one sentence, it will have more impact than said in an entire paragraph.

There are hundreds of websites that provide support to writers. Other authors are often happy to offer guidance. Find a support group of writers who will critique your work. Be sure to check your ego at the door. They can be just as tough as a paid editor. But, in the end, that's exactly what you need. A critical eye will polish your work, making you the author of the next best seller.

In the end I'm glad I didn't kill the editor. Besides, it would have looked bad on my book's author bio.

Here’s the link to Feather’s novel The Guardian's Wildchild. Also, check out her website.

Tip O'Day #386 - Complex Plot Lines

Guest blogger Cynthia Richards on “Keeping all the Wiggling Worms Straight.”

I love complicated stories with twists and turns weaving intricate patterns of clues or deception. These are the stories that keep me up until midnight, turning page after page. Tracking each strand of intrigue or character sub-plot in the writer's mind, however, can be as difficult as sorting worms in a bucket. How can an author make certain their character A isn't racing in his speed boat to rescue the scientist while in character B's point of view, character A is giving a lecture on physics at the same time?

I turn to my experience as a software developer. Computer code, depending on the software application, can be extremely complex. To keep the functionality straight in their minds, developers turn to a process called "Flow Charting." They use graphic representations of each step their code goes through to get from point A to point B. Sound difficult? It's actually very simple.

A writer can follow this same process with pen and paper. Start with the protagonist's story line. Draw a box and write a brief summary of the scene or event with the perspective of how it impacts your protagonist. Do the same thing with each scene, tying them together with arrows beginning with the first box (scene or event) to the last box. Voila! You have created a flow chart for your plot. If you’re using more than one character point of view, then do the same thing with the next character's storyline. Try printing out the flow charts for all your character story lines and comparing them. I've discovered quite a few plot holes I would have missed otherwise.

Paper and pencil work just fine as you’re flow charting, but if you'd rather save your work in e-copy, there are software tools available. I recommend Open Office, because it's easy to use and it's free (big plus). Having an e-copy version comes in handy when you’re writing your synopsis. The major plot points have already been written. You’ll just need to copy/paste into Word and then freshen up the language.

A co-author of horror and urban fantasy novels, Cynthia’s first solo fiction project is scheduled for release in 2013. Learn more at her website.

Tip O'Day #372 - How Much Is Too Much?

Guest blogger Ben Drake asks “How far can we go with an idea and still be able to come back?”

I’m a constant meddler in my wife’s novels. She brought up the subject of drunk driving a while ago. She made the character out to be some asshole for doing it. I tried to make her see that it might not be a very good idea to demonize everyone who has ever made a mistake in that situation, telling her, “You might be alienating certain members of your audience.”

It is easy to make our characters have all the answers to all the problems that they face, but what about when the actual author doesn’t have the answers to a situation? Examples could be Middle East turmoil, teen pregnancy and spouse abuse, just to name a few. These are all situations that might be easier to fix in reality, as opposed to in our writing and in-depth character development, that people seem to love. That is, if we have done our job properly.

In one of my stories, I dove into the criminal mind of a psychopath, and in making him a whole character I angered quite a few people.

Dixon says: I don’t mean to get embroiled in a domestic dispute, but your wife is right (in my humble opinion). One of the worst mistakes anybody can make is trying to please everyone. For authors, I don’t think we should embrace controversy simply for the sake of being controversial, but neither should we run screaming from the slightest hint of strong opinion. Where would Fifty Shades of Grey be without controversy? Just this week, its UK sales surpassed those of Harry Potter.

Tip O'Day #336 - Plot Problems in a Galaxy Far, Far Away

Guest blogger Zvi Zaks muses on the Star Wars series.

The first Star Wars, Episode Four, presents magnificent epitomes of good (Obi Wan) and evil (Darth Vader). Luke, at first somewhat bratty, becomes a strong protagonist. It's a clean, well structured story.

In Episode Five, the neatness unravels. Vader is not ultimate evil (the Emperor is), and Luke endangers everyone by abandoning his training. Still, the story moves smoothly to that famous kicker, "Luke, I am your father."

Episode Six reveals Vader has unsuspected goodness, and Obi Wan shows himself a weasel when he says 'in a sense' Vader killed Luke's father. It's a little confusing, but we're more or less satisfied at the end. Stories of pure good and evil are less interesting that those with more ambivalent characters, but the latter need more skill in construction. Vader as Luke's father just does not fit with the original film. Lucas tried too hard for the poignant. Since that idea arose after the first film was 'in the can,’ the story suffered.

In Episode One, everything changes. How can cute, wise, brave little Anikin be a villain? Moreover, Jedis Qui-Gon and the young Obi Wan, unlike wise Alec Guinness, are insensitive jerks. Who are the good guys here?

Later, Obi Wan becomes obnoxiously overbearing. Inexplicably, Padme falls in love with and marries Anakin, an impetuous teen at least ten years younger. In Episode two, we see droids under the evil Dookus and clones, precursors of the imperial storm troopers. It's confusing. Who should we root for?

In a plausible seduction, Anikin succumbs to the dark side. The mind-controlled clones betray the Jedi. Yoda goes into exile on Degaba (in a scene that, sadly, didn't make the final cut.) Babies Leia and Luke are placed with good families, CP3O has his memory wiped to conform with later episodes, and we're ready to watch Episode 4 - A New Hope once again.

Scientific absurdities abound (e.g., using 'parsec' as a unit of time, driving a submarine through a planet's core, and a robot, Grievous, with a hunched back and cough). Most are minor. Much more serious is the failure of the Jedis to rescue Anakin's mother from slavery. Her death is necessary to show Anakin's progression to the Dark Side, but it's unrealistic. A trained Jedi might not need emotional attachments, but Anakin is still a child.

Lucas has created a messiah (virgin birth, no less) who falls into evil and needs redemption himself instead of redeeming others. The idea is lofty, but the execution lacks finesse. At the end, there is no point. Anakin-Vader, the saga's main character, is neither hero nor anti-hero. One is tempted to ask - why bother?

I bother. I love Star Wars. The spectacular eye-candy, inspiring music, and enough shturm und drang to delight a meteorologist sucks me in time after time. And watching it while exercising makes my workouts much easier. It's a lot of fun.

But it's nothing to take seriously.

Learn more about this author at his Amazon page.

Tip O'Day #334 - The Drive for Perfection

Guest blogger Kenneth Weene asks, “Do I really want to edit it again?”

I’m sure it will be done soon. I mean it has already taken a year and a half. The book is titled The Stylite. It is in many ways my best work. The language is poetic. The characters reach the heart. The plot is unexpected. The imagery and use of metaphor are excellent. At least that’s what Jake, my editor, tells me. He absolutely loves the book. So do I.

There is no question that my writing is good. Reviewers tell me that it is. My writing group compliments it. Word is getting out and people are buying.

Even better, my work keeps improving. I take great pleasure in that improvement. As powerful as Memoirs From the Asylum may be, I must admit that Tales From the Dew Drop Inne is a better-crafted book. The shorter pieces I have written since I finished Tales are even better. And The Stylite may even be as good as Jake says. I want it to be.

Therein lies the problem—the drive for excellence, the hope for perfection. I keep worrying at this manuscript like a dog who can’t give up a bone. I just keep gnawing. This must be the fourth time through since I came home last October. I had taken three weeks at the Writers’ Colony at Dairy Hollow to finish the book. It had been a delightful time, writing to my heart’s content. And Eureka Springs, Arkansas, is a lovely town, a place that encourages artistic effort. And, yes, I had come home manuscript in hand.

Since then, I have read that manuscript three times, read parts of it with others, read it with Jake and listened to his suggestions. Over and again I’ve worked each sentence, each word. Hopefully this, the fourth time, is the last challenge. I want to make the science fiction sections of the book work with the evocative literary fiction, which is the novel proper. I want the two to fit snugly together. I have to make sure that the sci-fi novel, which is excerpted within the larger story, works for the reader while being written in a clearly different narrative voice. I demand of myself a seamless whole.

This last task is underway; it will soon be done.

But then what? Will I start over? Do I really want to edit it again? When is enough? That is a question that good writers must ask of themselves. If Jake hadn’t told me how good this book is, if I hadn’t found myself reading and rereading portions just reveling in the words, I probably would have made an end already. But maybe I’ll take another run through. Just a quick one, just a little tweaking.

Argh!

Tip O'Day #317 - Writing is Personal

Guest blogger Malika Gandhi on Life Writing.

You may have heard that writing is a personal thing. It truly is. People write for different reasons - for recognition perhaps, out of passion, or it could just be their job. It begins with a thought, maybe written within the pages of a diary, and a “why not?” The creative energy flows when you write something you feel strongly about. Emotions come into play - anger, sadness, happiness. The pen and paper become your friends.

Writing is about seeing. It’s about noticing what happens around you. Just walking down the street and watching what goes on around you will bring ideas. We live in a fascinating world and there is never enough to write about, but the hard part is what to write? What makes people want to stop browsing and start reading? Research is the answer, and then to go by that trend.

But this is not always necessary. If you simply want to express yourself, then there is no stopping you. Just blog. In your own site, you can put down anything that fascinates you. You can talk about photography, your life, your hobbies...the list is endless.

I began to write when I was in junior school and I was told to write book reviews in a log book. I was an avid reader and still am. I loved reviewing books by my favourite authors, C.S.Lewis and Roald Dahl. Sometimes I got carried away and filled two or more pages than was necessary! As I grew older, I moved on to writing diaries. Years later, I began to write my novel and as all authors, established or not, I had to overcome many hurdles. I attended writing courses, read many articles, and subscribed to writing magazines to get where I am now.

I still have a lot more to learn but being self-published, opened me up to the world of blogging. The site is based on my novel Freedom of the Monsoon. Also, I have the chance to showcase other works. I can talk about my personal life, my art, and my culture. Each time I post something, I feel I have achieved and so will you. It is a personal satisfaction.

Learn more about Malika at her blog.

Dixon says: Malika, I like your book title - very lyrical. One thing I disagree with is following trends. At the moment, gay, conflicted werewolves may be all the rage, but in the 2-3 years it takes to write, edit and publish your book, the public will have suffered through a deluge of stories about gay, conflicted werewolves and will not embrace another one. I believe the 'trick' is to figure out what universal themes make people flock to Harry Potter, James Bond, Hunger Games, The Girl with the Dragon Tattoo, and so on. Then find ways to express those themes through your own original characters, plot and settings.

Tip O'Day #302 - How Readers Pick a Book

Periodically, I like to share comments from readers about how they select their next book to beg, borrow or buy.

Amos Lassen - I try to review every book I am sent, of which there are many. If I’m thinking of buying a book, I read the blurbs and scan the sample pages a bit. Usually I will buy a book that I have read good things about if the concept appeals to me.

Laurie Jenkins - For me, besides time, the most important factor in my decision to read/review a book comes down to genre, then the blurb, then reading a bit of the sample. It's tough. Like most these days, I never have enough time to read all the books I'd really like to read, so I try not wasting time on ones I don't think I'll enjoy. It is getting more and more difficult to meet all my review commitments so my resolution for this year is to say "no" more often and try not to feel so guilty doing so.

Clara Brown - What makes me choose to read one book over the other is a creative plot. Right now I’m reading a horror story written from the POV of a giant flesh-eating Venus flytrap. Not only was the story well written, but how many Venus fly traps do you know?

Dixon Rice – One thing I love about the writing community is how helpful everybody is, even to clueless newbies. When I see there is a new book from someone who’s been active in online author groups, someone who posts thoughtful reviews, someone who is supportive of other writers – that’s a book I’ll take a chance on.

Tip O'Day #301 - 3 Lessons Learned

Guest blogger H.L. Banks on a writer’s life.

I was a reader long before I became a writer, and still am. I owe so many authors a debt of gratitude for showing me what techniques work and what to avoid. Here are three things I have learned from those great ones and try to follow in my own writing:

Characters. I remember so many characters that came alive for me while I read. They lived on the page and still live in my heart and mind. They are fictional, but somehow they’re real. When writing, characters have often told me I’ve gotten them wrong (most recently, one of the main leads insisted he was NOT married with kids). I didn’t listen and he fell flat. I changed it and he came to life. I learned my lesson; I listen now.

I don’t sketch my characters before beginning to write but I do try to make them real for readers through their physical traits, actions, dress, and opinions. I think it is important for characters to experience the same emotions that readers do: pain, joy, love, anger and disappointment. Emotions motivate the characters and drive the story.

Plotting. I don’t outline before beginning to write as I, like a reader, prefer to be surprised. Stephen King has some very good things to say about this in his book, On Writing. I do keep a timeline. As usual, I had to learn this the hard way and spent many, many hours repairing potholes. There are times I vary structure depending on the needs of the story. It is not always a straight line from beginning to end.

I’ve learned to be careful as I shift action from past to present so the reader is able to follow what has happened and why. Hopefully, this care helps keep the reader’s interest. There are definite plot elements I always include: exposition, complication, climax and resolution.

Persevere. If you’ve just launched yourself into the life of a writer, never, never, never give up. Believe it or not, it’s only a few writers in the grand scheme of numbers who ever complete a manuscript!

Check out this author’s blog or Amazon link.

Tip O'Day #299 - Outta Control!

Guest blogger Edward McKeown on what happens when your characters grab the steering wheel.

Authors take very different approaches to writing characters. I have friends who are excellent authors, but who control their characters like puppet masters. The characters perform the plot as they are directed to do. On the other hand, my writing is full of surprises. I love it that way. Writing is an intensely visual experience for me. My stories play in my head with a nearly cinematic quality. I see the people, places and events. They do not always come to me in sequence but I have faith that there is a complete story. If I continue to pay attention, I’ll eventually see the entire story and write it down. I know it will make sense.

The big surprise for me was how much collaboration takes place between my characters and me. In writing Was Once a Hero, I created Shasti Rainhell as a story device, a way to protect my everyman, Robert Fenaday, as he descended into the world of privateers in search of his missing wife. Shasti, genetically engineered and more powerful than any normal human, was not content with her role. She started telling me about her abusive past, and how fascinated she was with Robert’s love for Lisa and his unreasonable search. I learned that while Robert was searching for Lisa, Shasti was also searching for her humanity. What had started out as an adventure story developed a complex romantic underpinning.

This new character arc became almost as strong as the original main arc. Robert and Shasti followed their separate paths and eventually intertwined in their own affair. I preplanned none of this but it lead to the Fenaday trilogy and a standalone Shasti Rainhell book.

Edward will be back tomorrow with another out-of-control character. To learn more about this author, check out his Amazon.com author page.

Tip O'Day #295 - Plotter or Pantser?

Guest blogger Jeannine McAllister on Pantsers vs Plotters.

Not long ago, a colleague wrote about how lost she was in her story. I asked her if she was a pantser or a plotter. She said she was a pantser.

Pantsers are writers who sit down and create a story by the ‘seat of their pants.’ They can write linearly from beginning to end, figuring things out along the way. Being able to write whatever comes to mind without any guide is a skill. They construct the book in their mind and just type. The problem with pantsers is they generally spend a lot of time in editing after the first draft. Also, it is not unusual for them to loss their path along the way to the end of the book because there is no road map.

Plotters plan the book from beginning to the end before they start writing. It is said that prior to computers most writing was done in chunks. Plotting allows you to work non-linear in chunks. Plotters need for how much planning they do varies; from a hand written note on a napkin, to a notebook full of handwritten scenes, to a thirty to fifty, maybe a hundred, page typed outline. Generally, they know something about each chapter, sometimes each scene, before they start writing. Plus, they have done character and location sketches. Plotters may spend three or more months up to years developing their plot outline. That’s a problem with plotters. They can spend so much time plotting, getting every detail perfect, that it ends up never getting finished, or they end up with enough material for a ten volume series before they start writing.

While plotters spend a lot of time before they actually start writing, the advance time often decreases the time they spend editing in the end. Pantsers don’t spend much time, if any, in the beginning; they spend it at the end editing.

If I sound biased towards plotting it’s because I hate editing, but I’m also envious of pantsers.

For further reading, check this out.

Dixon says: I like Jeannine's analysis of the difference between planners and pantsers. However, I suspect that the majority of writers are found somewhere between those two extremes. I'm sure there are very few writers who sit down without an idea what they're going to create. For an extreme planner, I'm reminded of Margaret Mitchell, who plotted out Gone With The Wind to the smallest detail. Then, first of all, she wrote the last chapter. Many writers do that, to make sure they'll have a satisfying conclusion. Then Ms Mitchell wrote the next to last chapter. And then the one before that. And the chapter before that. She wrote the entire saga backwards. Now that's a dedicated planner.

In my novels, I have a very good idea of what will happen in the first 3-4 chapters, and a vague concept of how my story will end. Then I "write in the headlights." With each page that I write, I can see a bit further up the road. When I wrote The Assassins Club, I had a moment of clarity about two-thirds of the way through, when I could see exactly how the final two chapters would be choreographed. The final version of those pages varied little from that original vision. Thank you, Voices In My Head.

Tip O'Day #288 - A Literary Pup

Guest blogger Constance See on how her rescue dog taught her to write.

At age fifty-something, I acquired my first pet ever when I asked my husband to look into adopting a dog. He loved Pepper instantly. I was more reticent, but Pepper looked into my eyes (or smelled the coffee I’d accidentally drizzled down my shirt) and decided we were long lost best friends. Learning to take care of a pet when you’re trying to write was a challenge at first, until I realized the Great Goddess in the Universe had sent her to me as a Muse. Pepper makes sure I get up nice and early (5:15 a.m.) every morning by pushing her wet little nose against my helpless feet dangling off the edge of the bed.

No time to waste, there’s writing and peeing to do!

I stumble out into the cold ebony air, eyes half shut, grumbling about my lack of sleep, but she drags me along sniffing for just the right spot to squat. It has to be where some other dog left their sign. I just got that lesson. Years ago I started a great romance novel, but at page 80, I stopped to read a new one and was devastated – her plot was very similar to mine. I locked up my ideas and pouted for over a decade!

Dumb-dah-dumb-dumb-dumb.

Pepper knows all. She knows every square inch of earth has a pee stain, just like plot twists have nearly all been written before. The hero or heroine always gets their man. What she taught me today was to sniff out the competition, but squat anyway making my own unique mark.

Finished with our morning ablutions, we race inside for sustenance. Pepper wolfs down her breakfast, reminding me not to dawdle at minor tasks. Then, she flops on her belly, head held up like the Egyptian Sphinx, watching over me, to keep those pesky distractions at bay. She has a very important job, keeping me focused on what really matters – a tail-wagging ending.

Tip O'Day #284 - "Grab 'Em by the Collar"

Your genial host, novelist Dixon Rice, tries his hand at writing a blurb.

Joanna Penn recently blogged about what makes an effective book blurb in The Creative Penn. It needs to be brief, no more than 100-150 words. If space allows, you may want to make some about the author remarks, but be sure to include:

(1) A hint of the plot.
(2) Use of words that evoke images and resonate with readers of the genre.
(3) Main characters named and characterized.
(4) Idea of setting.
(5) A question or a hint of mystery that draws the reader in.
(6) Some hyperbole.
(7) Finally, quotes about the book or previous books by the author.

I like Joanna’s analysis. A blurb should be some of your best writing, not feeling like a book report. It should briefly convey a sense of the plot, setting, main characters and themes. A blurb needs to grab readers by the collar, getting them to look at the opening page (or click on the online sample pages) to see if the writing lives up to the hype. Following is my 150-word attempt to apply this concept to my novel, The Assassins Club.

Deputy Marconi spoke softly. “We know you’ve been killing people, Ty…”

Deputy Trueblood pushed his partner aside. “The point is, we want in.”

Ty blinked. “Excuse me?”

In Montana’s Rocky Mountains in the 1970s, college student Tyler Goode figures he “accidentally” became a serial killer.

Another serial killer, a bearded, thirtyish man, emerges nude from the ocean in Baja California. He thinks he is Jesus. He walks up the coast, killing when it pleases him, and gathers a Manson-like tribe of losers.

Ty and Jesus eventually collide in this fast-paced suspense-thriller, but only one will survive to pursue his addiction.

See why reviewers say: “…so fast moving, you don't stop to think how it's all going to end. But even if you did, it will still be a surprise.”

“So real you can taste it.”

“An engrossing read with a compelling plot... This novel will keep you guessing until the end.”

So what do you think - did I grab you by the collar?

Tip O'Day #283 - How You Choose a Book - II

How three more readers select a book.

Cindy Davis - After being an editor for so many years, I am hard to please. I choose a complicated plot--usually mystery. I enjoy unraveling plot lines.

Luna Sweete - If a book has a horrible cover or an uninteresting blurb I will not pick it up and buy it or read it. It could be the best book in the world and I would never know it.

Aleksandra Zaric - For me it’s always been the initial appeal of the front cover. If the synopsis sounds okay and it’s within the genre that I like, then I’ll buy it. The price is not really a concern. I think it’s really worthwhile for any self-published author to utilize some of the best cover designers in the industry. It is really worth the investment.

Tip O'Day #268 - Motivated by Junk

Guest blogger Ellie Mack on an inspirational book.

I’m an avid reader, and am often inspired by books. I've read some really bad ones, too – which have motivated me to keep pursuing my dreams.

I once read a book that in the first chapter, the female protagonist goes to the door, knocks and waits. When she approaches the massive wooden door, she’s wearing jeans, a polo shirt and sandals, and has shoulder length honey blonde hair. As she looks over the rail at the valley below, apparently she undergoes a wardrobe change and total makeover. When some guy answers the door, he takes in her sight - khaki trousers, a button down oxford, and her flaming red hair is now cut in a swing bob. Seriously? And this got published? Well, that book continued to puzzle me with discrepancies and a failing plot. If that author could get published, why can't I?

I still have that book. I won't ever read it again, but it's a motivational tool for me.

Tip O'Day #266 - Have No Fear

Guest blogger Raquel Monday has a writing blueprint.

Never be afraid to delve into the unknown; it will remain unknown if you never venture into it. I write genre-bending books and enjoy going from one to another. I usually write two books at one time, one being intense and one being a children's fairytale or poetry.

When I get stumped as to what direction the storyline is going I use a sketchpad envisioning where I want the characters to go and how they will get to the end of the story, sometimes this helps me with the words if I have a visual to go by. Kind of like a blueprint.

Learn more about Raquel at her website.