by Elizabeth S. Craig, @elizabethscraig
For my daughter’s entire life, I’ve watched with amusement as people have made the mistake of judging her by her appearance.
She’s diminutive, doll-like in many ways. Very odd, since I’m 5’10” and don’t have many memories of the brief time I was small. But my daughter is frequently mistaken for a second grader, although she’s in middle school.
People don’t expect is how tough she is. She knows her own mind…and speaks it. She can certainly take care of herself. And I wouldn’t advise calling her cute.
I think that’s one aspect that makes my daughter interesting—that dichotomy between her appearance and her personality. She’s a surprise.
Characters who surprise readers are also interesting…and provide realism in a story.
Ways that characters can surprise readers:
Characters who pretend to be different than they actually are. Common in mysteries, but useful in other genres, too. We can all play nice for short periods of time, can’t we? The opposite is true, too—the person who plays the tough guy, but is actually very sensitive or timid.
Characters who change during the course of the story. Directly related to plot events, these characters change for a variety of different reasons: death of someone close to them, change of health, change of circumstance, change of marital status. Might be a good idea to see those changes happen gradually to a character…but if it is abrupt, it needs to be believable.
Characters who differ from what their physical appearance suggests (see above.) This could encompass a Napoleon complex…someone who has a particular personality as a result of their appearance or size.
Characters who experience a change of heart. Sometimes I’ll see this in films where the bad guy has the opportunity to save the good guy (usually when the good guy is hanging off the side of a cliff.) Again, there’s got to be something there in the plot to make the readers believe this abrupt change of heart. Has the protagonist saved the antagonist in the past? What’s the backstory here?
What other ways can characters surprise us? Which ways are your favorites to read or write?
Image: Flickr: A. Currell
Category: Uncategorized
5 Tips to Create a Page-Turning Plot
Guest Post by J.E. Fishman, @JEFISHMAN
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| Purchase Here |
Last
year, when I was visiting a library book club to discuss my first novel, Primacy,
a woman told me she kept flicking the bedroom reading light back on because she
wanted to know what would happen next.
A
couple of months ago, a fellow writer whom I’d met on Facebook sent me a
message about my second novel that began: “I just read the prologue to Cadaver
Blues. Wow. Straight into the story and already hooked.”
couple of months ago, a fellow writer whom I’d met on Facebook sent me a
message about my second novel that began: “I just read the prologue to Cadaver
Blues. Wow. Straight into the story and already hooked.”
Both
of these interactions — and others like them — have left me smiling over the
past eighteen months. They’re gold for an author. More important than money,
almost on par with food.
of these interactions — and others like them — have left me smiling over the
past eighteen months. They’re gold for an author. More important than money,
almost on par with food.
Regardless
of genre, the greatest compliment one can pay to a writer is the turning of a
page — followed, of course, by the turning of another and another.
of genre, the greatest compliment one can pay to a writer is the turning of a
page — followed, of course, by the turning of another and another.
Beautiful,
compelling prose can do that — what editors often refer to as “voice.” But
voice alone can’t carry an entire novel, and it certainly won’t carry a
mystery. People who read mysteries want more than character, great writing, and
peppy dialogue. They want to be challenged to figure something out. The puzzle,
if it’s intriguing enough, can propel much of a story forward. But if you can
also create suspense — a sense that the character faces peril — so much the
better.
compelling prose can do that — what editors often refer to as “voice.” But
voice alone can’t carry an entire novel, and it certainly won’t carry a
mystery. People who read mysteries want more than character, great writing, and
peppy dialogue. They want to be challenged to figure something out. The puzzle,
if it’s intriguing enough, can propel much of a story forward. But if you can
also create suspense — a sense that the character faces peril — so much the
better.
The
No. 1 way to build suspense is to instill in your reader a sense of danger
without paying it off right away. Suspense ends the moment anticipation ceases.
That anticipation might be relieved by assured safety, of course, but it also
expires along with your character the moment that the knife goes in. Keeping
them waiting for that knife is the heart of the matter.
No. 1 way to build suspense is to instill in your reader a sense of danger
without paying it off right away. Suspense ends the moment anticipation ceases.
That anticipation might be relieved by assured safety, of course, but it also
expires along with your character the moment that the knife goes in. Keeping
them waiting for that knife is the heart of the matter.
Thrillers
frequently have more suspense than traditional mysteries, but these lines have
blurred, which is all to the good. Thriller writers often introduce a mystery
element when they need to complicate their plot. And mystery writers introduce
suspense to quicken the pace.
frequently have more suspense than traditional mysteries, but these lines have
blurred, which is all to the good. Thriller writers often introduce a mystery
element when they need to complicate their plot. And mystery writers introduce
suspense to quicken the pace.
Ah,
the quicker pace. The thing about knives is they can’t threaten on every page
or the reader becomes inured to them. So what other techniques might we use to
keep those pages turning? Here are five that I find effective both as reader
and writer.
the quicker pace. The thing about knives is they can’t threaten on every page
or the reader becomes inured to them. So what other techniques might we use to
keep those pages turning? Here are five that I find effective both as reader
and writer.
1. Make us care.
Perhaps
it should go without saying that we need to care about the protagonist, but how
does one make the reader care? First of all, bring the character to life
through particular elements of characterization — appearance, tics, manner of
speech, etc.
it should go without saying that we need to care about the protagonist, but how
does one make the reader care? First of all, bring the character to life
through particular elements of characterization — appearance, tics, manner of
speech, etc.
Second,
give the character something or someone to care about. People who care about
something are more interesting and sympathetic than people who just float
through life. The target of that caring could be a person, a pet, a possession,
or a cause — any number of things. It doesn’t matter what, exactly. We root for
people who have a stake in life.
give the character something or someone to care about. People who care about
something are more interesting and sympathetic than people who just float
through life. The target of that caring could be a person, a pet, a possession,
or a cause — any number of things. It doesn’t matter what, exactly. We root for
people who have a stake in life.
Least
important, I think, is for your character to be likable. Some will argue with
that statement, but I think we ultimately care more about a character who is
interesting than one who is nice.
important, I think, is for your character to be likable. Some will argue with
that statement, but I think we ultimately care more about a character who is
interesting than one who is nice.
Once
you have that interesting character sketched out — or even before — introducing
a sense of foreboding is a great way to get us behind him.
you have that interesting character sketched out — or even before — introducing
a sense of foreboding is a great way to get us behind him.
Phillip
Margolin begins Chapter One of The Burning Man as follows: “On the day
the gods chose for his destruction, Peter Hale ate his breakfast on the terrace
of his condominium.” What an effective opening! I don’t know about you, but I’d
personally allow Margolin to bore me to death for the next thirty pages just to
learn how the gods plan to destroy Peter Hale.
Margolin begins Chapter One of The Burning Man as follows: “On the day
the gods chose for his destruction, Peter Hale ate his breakfast on the terrace
of his condominium.” What an effective opening! I don’t know about you, but I’d
personally allow Margolin to bore me to death for the next thirty pages just to
learn how the gods plan to destroy Peter Hale.
2. Limit the field.
The
closer your protagonist gets to the source of danger, the greater the suspense
and the faster the pace.
closer your protagonist gets to the source of danger, the greater the suspense
and the faster the pace.
Proximity
is a powerful source of suspense, even when danger isn’t involved. Think about
your last trip to somewhere you really looked forward to going. Maybe it was a
visit to a national park or a play in the big city. Most of us start out at a
leisurely pace, but as we get closer we speed up to meet the anticipation.
is a powerful source of suspense, even when danger isn’t involved. Think about
your last trip to somewhere you really looked forward to going. Maybe it was a
visit to a national park or a play in the big city. Most of us start out at a
leisurely pace, but as we get closer we speed up to meet the anticipation.
The
protagonist of a mystery isn’t closing in on the theater; she’s closing in on
the truth. But the truth is dangerous because a murderer will be exposed.
protagonist of a mystery isn’t closing in on the theater; she’s closing in on
the truth. But the truth is dangerous because a murderer will be exposed.
In
a thriller, the protagonist is closing in on the antagonist (or vice versa).
The closer he gets, the greater the pace, because a physical threat is most
easily carried out in close quarters. When the antagonist is halfway around the
world, we may be willing to set the book aside. When the antagonist is in the
back of the car, those pages will turn.
a thriller, the protagonist is closing in on the antagonist (or vice versa).
The closer he gets, the greater the pace, because a physical threat is most
easily carried out in close quarters. When the antagonist is halfway around the
world, we may be willing to set the book aside. When the antagonist is in the
back of the car, those pages will turn.
3. Raise the stakes.
This
one may seem like a contradiction to Nos. 1 and 2, but they can all complement
one another.
one may seem like a contradiction to Nos. 1 and 2, but they can all complement
one another.
Even
if we already have a sympathetic protagonist who’s in danger, we feel more
strongly for that character’s fate if she willingly risks her life for
something bigger.
if we already have a sympathetic protagonist who’s in danger, we feel more
strongly for that character’s fate if she willingly risks her life for
something bigger.
First
of all, seeking out danger shows moral fiber — something the character cares
about bigger than herself. As the business guru Tom Peters wrote (quoting Texas
Bix Bender), “You can pretend to care. You cannot pretend to be there.” Risking
your life for something bigger than you is a sign of authenticity.
of all, seeking out danger shows moral fiber — something the character cares
about bigger than herself. As the business guru Tom Peters wrote (quoting Texas
Bix Bender), “You can pretend to care. You cannot pretend to be there.” Risking
your life for something bigger than you is a sign of authenticity.
Second,
bigger stakes are…well, BIGGER. If Asia is threatened with obliteration,
that’s four billion people, which is a lot more than one.
bigger stakes are…well, BIGGER. If Asia is threatened with obliteration,
that’s four billion people, which is a lot more than one.
But
here’s the caveat about those stakes. Notice I didn’t say, “Have big stakes.” I
said, “Raise the stakes.” If Asia will be nuked, who cares? Don’t know
any of those people. If, on the other hand, the protagonist I’ve come to know
and love may be nuked while trying to save Asia, now you’ve got me.
here’s the caveat about those stakes. Notice I didn’t say, “Have big stakes.” I
said, “Raise the stakes.” If Asia will be nuked, who cares? Don’t know
any of those people. If, on the other hand, the protagonist I’ve come to know
and love may be nuked while trying to save Asia, now you’ve got me.
Fiction
— even when it has broad themes — always goes from the specific to the general.
Never the other way around.
— even when it has broad themes — always goes from the specific to the general.
Never the other way around.
4. Keep us hanging.
Remember
that knife. The moment it falls, the suspense dissipates.
that knife. The moment it falls, the suspense dissipates.
As
a storytelling technique, the cliffhanger used to get a bad rap. It was said to
belong in the realm of hack writers who relied on cheap tricks. Bull-dingy!
Everyone uses cliffhangers, even literary novelists. Why? Because they work.
a storytelling technique, the cliffhanger used to get a bad rap. It was said to
belong in the realm of hack writers who relied on cheap tricks. Bull-dingy!
Everyone uses cliffhangers, even literary novelists. Why? Because they work.
The
cliffhanger is nothing more than a cutaway employed when something important is
about to happen to the protagonist. If your protagonist is suspended over a pot
of boiling oil at the end of Chapter 35, why pay off the scene right in Chapter
36 when instead you can go to a completely different location and character and
get your reader to keep turning pages to see what happens?
cliffhanger is nothing more than a cutaway employed when something important is
about to happen to the protagonist. If your protagonist is suspended over a pot
of boiling oil at the end of Chapter 35, why pay off the scene right in Chapter
36 when instead you can go to a completely different location and character and
get your reader to keep turning pages to see what happens?
Best
of all, have the intervening chapter (or chapters) focus on someone who cares
about that character. Maybe he doesn’t know what’s happening to her — or maybe
he’s racing to save the day.
of all, have the intervening chapter (or chapters) focus on someone who cares
about that character. Maybe he doesn’t know what’s happening to her — or maybe
he’s racing to save the day.
5. Leave something out.
If
you’re a reader or writer of mysteries, you have to love the phrase, “The
mystery deepens.” It’s an invitation into the abyss, isn’t it? Something was
missing. Now, suddenly, even more is missing!
you’re a reader or writer of mysteries, you have to love the phrase, “The
mystery deepens.” It’s an invitation into the abyss, isn’t it? Something was
missing. Now, suddenly, even more is missing!
When
it comes to suspenseful storytelling, what the author leaves out is as
important — perhaps more important — than what he puts in. Say the maid found
the butler dead in the library. The mystery, of course, is who killed
him and why. But what if we also don’t know how? Doesn’t that add
to the intrigue? You bet it does.
it comes to suspenseful storytelling, what the author leaves out is as
important — perhaps more important — than what he puts in. Say the maid found
the butler dead in the library. The mystery, of course, is who killed
him and why. But what if we also don’t know how? Doesn’t that add
to the intrigue? You bet it does.
All
novels complicate the plot as they go along. In page-turners, each revelation
both advances our understanding and, at the same time, raises further
questions. And fresh questions keep readers turning pages.
novels complicate the plot as they go along. In page-turners, each revelation
both advances our understanding and, at the same time, raises further
questions. And fresh questions keep readers turning pages.
Storytelling
is a form of manipulation, but the more the reader feels manipulated, the more
you run the risk of losing her. So use these techniques as artfully as you can.
Combined with the core of a great mystery, they’re guaranteed to keep your
readers up at night.
is a form of manipulation, but the more the reader feels manipulated, the more
you run the risk of losing her. So use these techniques as artfully as you can.
Combined with the core of a great mystery, they’re guaranteed to keep your
readers up at night.
J.E. Fishman, a former Doubleday editor and literary
agent, is author of the thrillers The Dark Pool and Primacy, as
well as the mystery Cadaver Blues: A Phuoc Goldberg Fiasco. With his
friends at Shelton Interactive, he also administers The 1000-Word CliffhangerProject.
He
divides his time between Chadds Ford, Pennsylvania, and New York City. Follow
him through his website at http://jefishman.com .
divides his time between Chadds Ford, Pennsylvania, and New York City. Follow
him through his website at http://jefishman.com .
Twitterific
by Elizabeth S. Craig,
@elizabethscraig
@elizabethscraig
Twitterific
is a compilation of all the writing links I shared the previous week.
The links are fed into the Writer’sKnowledge Base
search engine (developed by writer and software engineer Mike Fleming) which
has over 19,000 free articles on writing-related topics. It’s the search engine
for writers.
search engine (developed by writer and software engineer Mike Fleming) which
has over 19,000 free articles on writing-related topics. It’s the search engine
for writers.
Sign up for our free newsletter for monthly writing tips and interviews with top
contributors to the WKB or like us on Facebook.
contributors to the WKB or like us on Facebook.
Try “My WKB”–a way for you to list and sort articles,
view your read articles, and see your search history. Read more about it here: http://bit.ly/S9thqS.
The free My WKB page is here: http://bit.ly/PV8Ueb. And check out Hiveword to
help you organize your story.
view your read articles, and see your search history. Read more about it here: http://bit.ly/S9thqS.
The free My WKB page is here: http://bit.ly/PV8Ueb. And check out Hiveword to
help you organize your story.
Making Money From indie Publishing: A
Guide For the Hopeful, the Optimistic and the Doomed: http://bit.ly/12GlIKO @sarahahoyt
Guide For the Hopeful, the Optimistic and the Doomed: http://bit.ly/12GlIKO @sarahahoyt
How to Cut the Filler and Tighten Your
Book: http://bit.ly/XYvJxy @kmweiland
Book: http://bit.ly/XYvJxy @kmweiland
Goal-Keeping from the Greats: http://bit.ly/X6oYuN @diymfa
Marketing Your E-Book: Making The Most Of
Your Time: http://bit.ly/TBpt0j
Your Time: http://bit.ly/TBpt0j
A preview of today’s DBW conference: http://bit.ly/13CPMXk
. Twitter updates: #DBW13 @Porter_Anderson
. Twitter updates: #DBW13 @Porter_Anderson
The DBW con: kid lit goes digital, issues for trad. pubs,
piracy, more: http://bit.ly/10hxkVc @porter_anderson .Follow con #DBW13
piracy, more: http://bit.ly/10hxkVc @porter_anderson .Follow con #DBW13
Can You Tell ‘Male Writing’ from ‘Female?’ http://bit.ly/W9lRRg
@Porter_Anderson @MykeCole @TeresaFrohock
@Porter_Anderson @MykeCole @TeresaFrohock
Whoever Told You Editing Was Easy is
Nuts: http://bit.ly/TBpy45 @behlerpublish
Nuts: http://bit.ly/TBpy45 @behlerpublish
Writing Horror: What Makes A Story Scary?
http://bit.ly/UjgGjq @woodwardkaren
http://bit.ly/UjgGjq @woodwardkaren
The Science of Storytelling: Why Telling
a Story is the Most Powerful Way to Activate Our Brains: http://bit.ly/10aEVEE @LeoWid
a Story is the Most Powerful Way to Activate Our Brains: http://bit.ly/10aEVEE @LeoWid
Writing a better climactic scene: http://bit.ly/10aEDOb @Lindasclare
When to shut down a creative life: http://bit.ly/10aE9HT @emergentpublish
Why we don’t write: http://bit.ly/TBNVi8 @write_practice
Great Scene: “Casablanca”: http://bit.ly/X70nGh @gointothestory
Great Character: Buddy (“Elf”):
http://bit.ly/TBO1Gs @gointothestory
http://bit.ly/TBO1Gs @gointothestory
Freelancing–the writer’s portfolio: http://bit.ly/X70ul3
Writing Religion in Fantasy: http://bit.ly/TBOoAY
Create Your Own Storybook App: http://bit.ly/X7142l @JulieFHedlund
Should you re-query an agency? http://bit.ly/VHqG4A @rachellegardner
Tips for writing a book proposal: http://bit.ly/XyukTJ @GillianMarchenk
Managing Story Conflict: http://bit.ly/VHqVfY @SHalvatzis
The Three Building Blocks of the Scene: http://bit.ly/VHr8jc @kmweiland
How Do Authors Reach *Readers*? http://bit.ly/Xyv3UV @annerallen
How to add jeopardy to your story before
the main conflict starts: http://bit.ly/VHrciW
@dirtywhitecandy
the main conflict starts: http://bit.ly/VHrciW
@dirtywhitecandy
Writing Goals Versus Writing Dreams: How
To Get From One To The Other: http://bit.ly/XyvnTJ
@woodwardkaren
To Get From One To The Other: http://bit.ly/XyvnTJ
@woodwardkaren
How much do ebooks cost to create? http://bit.ly/VHruGH
Trying to place more of your stories in
anthologies and ezines? Use a lower word count: http://bit.ly/XyvKNS
@BryanThomasS
anthologies and ezines? Use a lower word count: http://bit.ly/XyvKNS
@BryanThomasS
Using the Real World in Fantasy Fiction: http://bit.ly/VHrGWg @fantasyfaction
1 writer reports on a KDP Select
experiment: http://bit.ly/XyvVZx
experiment: http://bit.ly/XyvVZx
e Business of Screenwriting: Withdrawing
screen credit and pseudonyms: http://bit.ly/VZuqNq
@gointothestory
screen credit and pseudonyms: http://bit.ly/VZuqNq
@gointothestory
Editing & Critiquing: http://bit.ly/V4uo8r @woodwardkaren
How Writing Helps Us Heal: http://bit.ly/VNSP9w @write_practice
Toothless Writing Goals? Try These Tools:
http://bit.ly/VNSZh3 @Jan_Ohara
http://bit.ly/VNSZh3 @Jan_Ohara
Clothes in books: “A black dress,
and a jewel the size of a trouser-button”: http://bit.ly/117SaGF
@clothesinbooks
and a jewel the size of a trouser-button”: http://bit.ly/117SaGF
@clothesinbooks
7 Elements of an Effective Landing Page
Designed to Increase Your Mailing List: http://bit.ly/117RMIb
@karencv
Designed to Increase Your Mailing List: http://bit.ly/117RMIb
@karencv
9 Tips For Finishing That Novel: http://bit.ly/117SN37 @annastanisz
How to Edit Your Own Writing: http://bit.ly/117T2Lq @cbmcmillan
Writing Worldbuilding Into Our Books: http://bit.ly/119bgMG @davidbcoe
Why we need beta readers: http://bit.ly/VOGNN4
Dealing with Rejection: http://bit.ly/119bALt @avajae
Effects Of Stress On Creativity: http://bit.ly/119bPpM @TheArtofMind
A writer reports on using CreateSpace: http://bit.ly/VOH42u
Problems for writers as readers: http://bit.ly/VOP83o @suzanne_writer
When Your Schedule Changes And Writing
Suffers: http://bit.ly/VOPbMw @yahighway
Suffers: http://bit.ly/VOPbMw @yahighway
Fight your censor: http://bit.ly/119qt0b
Keeping track of your characters: http://bit.ly/119ra9E
How you should treat edits on page
proofs/pass pages: http://bit.ly/VOQ4Vt
proofs/pass pages: http://bit.ly/VOQ4Vt
Mistakes with metaphors: http://bit.ly/U0vEtV @robdyoungwrites
Character Development: What Do They Want?
http://bit.ly/XHWJ9M @ava_jae
http://bit.ly/XHWJ9M @ava_jae
Blending Sex and Suspense: http://bit.ly/U0vPFD
How to Choose a Creative Writing Course: http://bit.ly/XHX3Fy
The InfoDump Scene: http://bit.ly/U0warJ
Tips for using dashes: http://bit.ly/U0whDN
Promotional Techniques for Authors: http://bit.ly/U0wxCK @ashkrafton
16 villain archetypes: http://bit.ly/UWYoF2 @tamicowden
Know the Dramatic Question of Your Story:
http://bit.ly/ZsqAi5 @cockeyed_caravan
http://bit.ly/ZsqAi5 @cockeyed_caravan
Writing bloopers to avoid: http://bit.ly/ZsrLy8 @Lindasclare
3 Reasons Why You Need a Mailing List as
an Author: http://bit.ly/Zss3oM @fcmalby
an Author: http://bit.ly/Zss3oM @fcmalby
The Business of Screenwriting: Anatomy of
a Deal: http://bit.ly/UWZnoN @gointothestory
a Deal: http://bit.ly/UWZnoN @gointothestory
6 Effective Ways to Inspire Yourself: http://bit.ly/UWZqkh @write_practice
9 ways to shatter genre boxes: http://bit.ly/13ltLfp @io9
Learn to Use Keyboard Shortcuts Like a
Ninja: http://bit.ly/VndFA1 @kingthor
Ninja: http://bit.ly/VndFA1 @kingthor
5 things to remember about writing: http://bit.ly/13lurBu @theresastevens
Scene-stealing Antagonists: http://bit.ly/Vneede
Art first, commerce later: http://bit.ly/13luEVh @kristinerusch
Write badly: http://bit.ly/VnfXiH @selfpubreview
Dialogue Tags Are Annoying: http://bit.ly/13lvdhH @mooderino
7 Great Book Dedications: http://bit.ly/Vngml2 @johannthors
An agent on the year of self-pub: http://bit.ly/13lvuBs @sarahlapolla
Finding Your Audience and Branching Out: http://bit.ly/WFR8tT @booklifenow
*Is* Writing Creative? http://bit.ly/TNwMSR @lilylefevre
Attracting Reader Responses on Your Blog:
http://bit.ly/WFRtwB) @auntyamo
http://bit.ly/WFRtwB) @auntyamo
Semicolons: http://bit.ly/WFRNM4
@WriteJoMichaels
@WriteJoMichaels
Striving to Be a Better Writer by Writing
More: http://bit.ly/TNx4sU @karencv
More: http://bit.ly/TNx4sU @karencv
10 Elements of Reality Not Allowed in
Fiction: http://bit.ly/WFS5T1
Fiction: http://bit.ly/WFS5T1
Should novelists be bloggers? http://bit.ly/TNxmQq @jfbookman
Fantasy: Manipulating the Mythos: http://bit.ly/WFSKnr @rmriegel
Blogs For Writers: http://bit.ly/13kAlDX @woodwardkaren
Dramatic Situation Vs. Dramatic Scene:
Win the Fight Against Poor Form: http://bit.ly/XojFal
@cdrosales
Win the Fight Against Poor Form: http://bit.ly/XojFal
@cdrosales
WIP feedback: When, How Often, How: http://bit.ly/13kAx63 @fictionnotes
How Music Affects the Writing Process: http://bit.ly/XojVGn @KMWeiland
YA–beyond wizards and vampires, to sex: http://nyti.ms/13kBj33 @nytimes @leslieNYT
5 Ways to Optimise Your Facebook Author
Page: http://bit.ly/XokM9V @fcmalby
Page: http://bit.ly/XokM9V @fcmalby
3 steps to hosting a giveaway: http://bit.ly/Xol6p6 @TweetTheBook
Why Do We Bother?: The Quest for
Accuracy: http://bit.ly/13kBRFW @davidbcoe
Accuracy: http://bit.ly/13kBRFW @davidbcoe
Whys & Hows of Co-Writing a Novel: http://bit.ly/UxZFSJ @LauraHoward78
Ebook pricing: http://bit.ly/ZOPXR0 @goblinwriter
8 Books for Writers: http://bit.ly/WfHKxI @raimalarter
Smooth Out Your Novel’s Scene Writing: http://bit.ly/10pUvhd @Lindasclare
The benefits of long-writing: http://bit.ly/10pULfU @woodwardkaren
3 Cheap Promo Ideas for Self-Published
Authors: http://bit.ly/10pVa1W
Authors: http://bit.ly/10pVa1W
Exploring Tortured Heroines in Romance
Novels: http://bit.ly/VUHeq1 @heroesnhearts
Novels: http://bit.ly/VUHeq1 @heroesnhearts
Turning Passive Plots into Active Plots: http://bit.ly/VUHsgT @susanjmorris
7 Ways to Add Subplots to Your Novel: http://bit.ly/10pW7rh @BrianKlems
Different Characters, Different Beliefs: http://bit.ly/VUHYvA @mooderino
Stephen King Gives Screenwriting Advice: http://bit.ly/10pWkdN @galleycat
Writing across the media: http://bit.ly/VUIcCX @tordotcom
5 Famous Authors Who Became Infamous: http://bit.ly/VUIxFJ @jtjarzemsky
Why 1 writer decided not to self-pub his
stories: http://bit.ly/10pXmXd @jamietr
stories: http://bit.ly/10pXmXd @jamietr
Do You Follow Yourself Around The Web? http://bit.ly/VUMo5x @novelrocket
13 Types of Writers’ Blogs – Pros and
Cons: http://bit.ly/10q182S @VeronicaSicoe
Cons: http://bit.ly/10q182S @VeronicaSicoe
An index of helpful writing guides for
writers: http://bit.ly/10q1eaV
writers: http://bit.ly/10q1eaV
How To Measure Your Writing Success: http://bit.ly/VUMIkF @originalimpulse
Some questions for interviewing your
characters: http://bit.ly/10q1qaa
characters: http://bit.ly/10q1qaa
Successful Query Letters for Literary
Agents: http://bit.ly/VUMVEB @galleycat
Agents: http://bit.ly/VUMVEB @galleycat
Protect Your Wrists: Exercises for
Writers: http://bit.ly/10q1wOR @jamigold
Writers: http://bit.ly/10q1wOR @jamigold
Tips for breathing life into your
fiction: http://bit.ly/UHCC5t @JanalynVoigt
fiction: http://bit.ly/UHCC5t @JanalynVoigt
The Universality Is in the Details: http://bit.ly/10qj51l @livewritethrive
How To Give Your Story a Better Middle: http://bit.ly/10qjctT @storyfix
Fun With Foreshadowing: http://bit.ly/UHCSl9 @cockeyed_caravan
TED Presentations from Writers: http://bit.ly/10qjmBh @galleycat
The Intersection of YA and Dystopian: http://bit.ly/10qjwZs @lkhillbooks
How to Embed a Twitter Tweet Into Your
Blog Post: http://bit.ly/UHD3g1 @jfbookman
Blog Post: http://bit.ly/UHD3g1 @jfbookman
Your Optimal Creativity Time May Be the
Opposite of Your Optimal Cognitive Time: http://bit.ly/TJN91k
@lifehackorg
Opposite of Your Optimal Cognitive Time: http://bit.ly/TJN91k
@lifehackorg
Assume Reader Resistance: http://bit.ly/TJN7qo @mooderino
The Cure For Perfectionism: http://bit.ly/10qkZik @woodwardkaren
The Importance of Knowing Your Ending: http://bit.ly/V4MYyX @yahighway
5 Ways Writers Should Approach Criticism:
http://bit.ly/V4Nr4c @cerebralgrump
http://bit.ly/V4Nr4c @cerebralgrump
Tips for running a blog tour: http://bit.ly/X5gYIz @beth_barany
Considerations When Choosing Our Author Name
by Elizabeth S. Craig, @elizabethscraig
I read an interesting post recently by Chris Gerwel: A Question of Identity.
Chris stated that his last name was actually Modzelewski. He explains why he chose to write under his middle name:
How will a difficult-to-pronounce name affect word-of-mouth recommendations? How will a hard-to-spell name affect search-driven sales on Amazon? How will a tough name affect the likelihood of bloggers and online reviewers writing up my books? Will a tough name diminish booksellers’ propensity to hand-sell my titles? Will signing my super-long name on stock give me carpal tunnel syndrome?
A difficult name is not, of course, a deal-breaker for any of these concerns… But there’s a way to forestall any and all of these concerns, and that is to adopt a pen name.
Other reasons I’ve seen authors use a pen name:
Their names are already famous…because of a different author. (If your name was Stephen King, for example.)
They write material that might anger or upset their family or close friends.
They write books to appeal to the other gender (J.K. Rowling for the Harry Potter books, for example.) Porter Anderson, in his most recent Writing on the Ether, covered a very interesting experiment that writer Teresa Frohock made in his post Can You Tell ‘Male Writing’ from ‘Female?’
Their publisher asks them to. This would be why I have one series written as Riley Adams. As a side note, the publisher did allow me to choose my pen name and I went with family names. When I asked the publisher if they had a preference among several family names I offered, they immediately chose Adams for shelf-placement. I think shelf-placement is rapidly becoming less-important, however.
How big of a deal are author names? I think they’re very important for getting readers to find us for the first time. But after they’ve bought one of our books, online retailers like Amazon make it very easy for readers to find more books—they’ll pop up as recommended reads whenever they log in to the bookseller.
Writing under more than one name:
It can be tough writing under more than one name. Readers may find it difficult to keep up with the books that you write under other names, although sites like Goodreads can lessen the impact.
Technically, I’m writing under three different names: Riley Adams, Elizabeth Craig (the quilting mysteries), and Elizabeth Spann Craig. Goodreads allows me to add Elizabeth Spann Craig as a second author to the other two series so that all of my books are listed on the same page.
Amazon works a little differently. There I’ve got two separate author pages: one for Riley Adams and one for Elizabeth Spann Craig. Thank heavens they don’t make me have a third one for Elizabeth Craig. Oddly enough, if you search for my full name on Amazon, the Memphis Barbeque mysteries do pop up.
Have you had any author name challenges? Multiple genres? Difficult last name? Do you write under several names?
Top 10 Things One Writer Learned About Social Media Marketing
Guest Post by Colby Marshall, @ColbyMarshall
In my (very brief) career as a writer, I’ve learned a few things about self-promotion on social media sites and in the blogosphere. I’m not an expert by far, but marketing is a work in progress. Just like writing, it’s something I’ve tried to learn and grow in, and like writing, I’m constantly revising what I know based on what I see that works…and what doesn’t seem to work. So far, these are the top ten things I’ve learned about social media in book marketing:
1. Social media doesn’t create a fan base–it keeps one. The people who come to your twitter or facebook pages have most likely already bought, plan to buy, or are at least interested in buying your book. Therefore, they don’t want to be told to buy your book every ten seconds. They want to interact with YOU.
2. When it comes to interacting with you, the key word is WITH. One thing I’ve noticed over and over again about authors with rabid fan bases is that they don’t just post on their social media pages and leave. They talk back. If someone replies to a tweet, replying back is important. If someone comments on your facebook page or blog post, respond. While it might seem “cool” to play it cool, the bond of being able to talk to an author of a book you like will keep you interested in your favorite authors’ books far longer than if they feel distant.
3. Speaking of getting close, on your social media pages, blog, and website, fans dig content they can’t get in the book. It’s why J.K. Rowling has done something so unique in Pottermore—readers can get even more of their favorite characters, stories, and the writers behind them.
4. While personal and book-related posts are great, content that is fun, informative, or relevant will always be enjoyed, too. Links to articles you enjoyed, websites you like, or even a fun fact you learned during research will keep posts fresh.
5. And on the subject of fresh posts…followers are far more likely to keep following if you spend most of your time posting about things other than your book. My rule of thumb: nine out of ten posts shouldn’t be directly related to self-promotion. Something you learned while researching doesn’t count, but that link to your newest review on Amazon or details about your next personal appearance? Yep. It’s your 1/10.
6. When you first release a book, you get to cut some slack on the 9/10 rule. Maybe 1/5. But don’t abuse it. No one likes a hog. (Unless it’s tame and wants to be my steed. Then I love a hog.)
7. Don’t hog the attention. If you want some love from fellow writers or even artists in other mediums, don’t spend all of your time posting about yourself and none sharing others’ work. Karma counts for something, but so do people’s memories. Don’t expect a favor if you don’t do any.
8. Another don’t: don’t get angry. If someone doesn’t like your book, don’t argue with them. Thank them for reading, and move on. Arguing with someone who says your book isn’t their cup of tea won’t make them suddenly fall in love with it, and it won’t make you look so classy, either.
9. Don’t go off half-cocked. You know what they say: the internet is forever. As I’m sure Mitt Romney and his binders full of women will tell you, even if it’s easy to put a sound bite out in the amount of time it takes to type 140 characters, it doesn’t mean you should. Think before you post about something controversial, when you’re angry, or after a couple glasses of wine. Tact is always better than throwing words around. As writers, we should know words are powerful. Use them as such.
10. Above all, be yourself. If you try too hard to find a “voice,” it’ll always come across as stilted, and you’ll think too hard about what to post. Keep the tact from the previous statement, but real is relatable. Keep it real.
These are just a few things I’ve discovered on my journey as an author so far, and I’ve still got loads to learn. My debut novel, Chain of Command, is a thriller about the simultaneous assassinations of both the President and Vice President that rocket the very first woman—the Speaker of the House—into the presidency.
What about you—what gets your attention on social media in a good way? What types of posts drive you nuts?
Writer by day, ballroom dancer and choreographer by night, Colby is a contributing columnist for a local magazine and a proud member of International Thriller Writers. She’s active in local theatres as an actress and choreographer.
She lives in Georgia with her family where she is hard at work on her new thriller.
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Chain of Command: The road to the Oval Office is paved in blood…the simultaneous assassinations of the President and Vice President catapults the Speaker of the House into the White House as the first female President of the United States. Evidence points to a former Navy SEAL as one of the assassins. Young journalist McKenzie McClendon must unravel a dangerous web of lies in a search for the truth.
Purchase:
Amazon
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Purchase:
Amazon
Nook