FORMATTING CHECKLIST ~1in. Margins all around ~Double spaced ~First line of each paragraph indented 5 spaces ~Times New Roman or Courier 12pt. Font ~Header includes Title and Author's last name (Stark Knight/Turner) ~Page numbers appear in the upper right hand corner ~The manuscript is free of typos ~Cover Page includes Author Name, Title, and Word Count
CREATING A MISSION STATEMENT By Jennifer Turner Many times, new authors receive feedback that surprises them. Of course their heroine isn't too stupid to live, what makes this reader think that? And in no way did they imply the hero was a wimp, where did they read that? It's not unusual for a first manuscript to be riddled with contextual errors that give readers the wrong impression. This occurs especially when a new author wishes to convey their character in a certain way and includes descriptions, events or flashbacks they believe showcase their character's personality. Not such a bad idea, you may think, but where does this create the problem? For most writer's, once they've learned the difficult technicalities of the craft, the next major leap is plot and character development. Why do I mention these two as ONE step? Because they have to go hand in hand. You cannot separate one from the other. Those descriptions, events, and flashbacks MUST directly relate to the plot, or they fail and give the reader the wrong impression. If Mary is a good girl, and a new author decides to throw in a scene where Mary is helping an elderly lady across the street, they must make this relate to the plot at some level. If the story is about a woman who helps an elderly lady across the street only to discover the woman has played upon her kindness to get her into a darkened alley where she can be mugged, then it's integral to the story. But, if the story is about the New York Stock Exchange and Mary's scene of kindness is only to show Mary as being kind, then the scene fails to move the plot forward and needs to be deleted. You may be arguing with me at this point that character development does move the plot forward. And I would reply that it definitely does. But, there doesn't need to be an entire scene devoted to showing this character development. Mary's kindness could be shown through a quick exchange of dialogue with another character: "Mary, if you had two broken legs, you'd still help an old lady cross the street. You've got to toughen up. The New York Stock Exchange is no place for a nice girl like you." Not every idea we have works for our story; not every bit of the history we've given our characters will make it into the story. When in doubt, ask yourself if you can either rewrite so the scene pertains to the plot, or if the information given could be shown better in dialogue from another character. Remember, for a character to think about themselves as kind, beautiful, handsome, strong, brave, or another personality trait, never reads nearly as strong as if another character offers that information to the reader. With the above information in mind, create a mission statement for your protagonist(s). This mission statement should cover both the character development and the plot. Here is a mission statement for my heroine in Stark Knight: Sara Stark will bring to justice the man who killed her father and stop him from killing anyone else. (This covers the plot) Sara will discover if she's capable of loving and trusting the man she's called brother most of her life. (This covers the character development.) This mission statement will help you keep focused. Does the description, the event, or the flashback correlate directly to the mission statement? If it doesn't, rewrite or delete the scene. Once this is accomplished, the chances a reader will get the wrong impression of your characters or your story, is much less likely and achieving the sort of feedback you long for will sky rocket!
WHERE'S THE WHY? By Jennifer Turner When new writers pick up a pen, or flip on the computer, it's often with a sense of excitement, a racing of the heart, the unmistakable thrill of creation surging through their blood. Somewhere along the line they learned they had a story to tell. With the advent of the computer age, thousands flocked to their word processors with the dream of becoming a writer, and hopefully, one day, published. Then reality sinks in. This is work! Who knew that High School English would not only come in handy, but also be necessary? And then there's all the stuff that we've either forgotten, or never learned. Like the true workings of a gerund, exactly what a dangling participle is, or the proper use of similes and metaphors. Aspiring authors can conquer these obstacles with a few well-selected books on grammar. E.B. White's The Elements of Style is highly recommended. But what of personal style? What about finding your own true voice? As writers, we can answer the questions, who, what, when, where, and how, with very little effort, it's the bones of the story. But the why question, that is the elusive, all-powerful, voice-instilling question that eludes many authors, and could be the difference between having a work that is all right or just 'good', or a work that is awesome, powerful, and ready to gain attention. During the course of writing that first novel, you'll make every mistake known to literary man. It's common, and part of the reason first books rarely make it into print. The first tale is the learning story, the one that you'll use to discover where your talents lie, and what elements you need to strengthen. Very soon you'll discover that writing is more than just throwing prose on a page, describing in detail the events of your work, giving your characters depth, and following an outline, until you get to the words "the end". You'll learn there is such a thing called the 'writer's voice' and you'll begin the quest to discover yours. As you progress through your journey, you'll learn the elemental truth that all stories are told through the heart and soul of the three-dimensional character you create. Only by being in tune with this fleeting persona can you truly master your own voice and write the tale of your heart. How does a writer find that core, that fully developed character, and utilize it to show the story through their eyes? Place yourself in their position, with their history, with their motives and their desires. As you practice this skill, you'll hone your awareness of relating to the reader through the hero or heroine in a way that will captivate their attention. And here is where you discover the why? of the story. Does James walk into the saloon because he knows a the man who murdered his father is in there? That is the who and the what, but not the why. James walks into the saloon to seek retribution for his father's murder. That is the why. If you write without attributing motive to the action, you'll cheat the reader and yourself. Here are some examples of action without motive. 1. Debby chugged the drink and stared glassy-eyed at the bartender. The Why: Debby chugged the drink, eager to escape her demons. Would the bartender give her another? Or kick her out the door? 2.The van screeched to a halt and Jeremy shook his fist at the cab. The Why: Jeremy slammed on the brakes, heart thudding as he shook his fist at the cab. The imbecile could have cost him his job. His boss wouldn't forgive him if he brought the van back dented. 3. Jillian felt the strength in his arms and sighed with pleasure as he kissed her neck. The Why, Jillian sighed with pleasure as he kissed her neck. How strong he was. She could lose herself in that strength and fear would never touch her again. When you write, remember to constantly ask yourself why a character does what they do. Don't leave the reader in the dark. From a simple shiver to a volcanic eruption of rage, there must be a logical reason behind everything your character does. If he's suddenly shy around a beautiful woman, it needs to be explained. Was he a gawky kid and never dated much? Was he ever humiliated by a girl he had a crush on? Is she afraid to fly in an airplane? Was she ever prone to nightmares about falling from the sky? Did she lose a loved one to a plane crash? Answer the why of it, and you'll create a story for the 'keeper' shelf!
DIALOGUE TAGS A study in Common Errors and Their Quick Fixes. Verb and Subject Incorrect: "I bet you two had a fine time," said Ben. When using tags, it's unusual to have the verb before the subject. The general rule of thumb is to use this construction sparingly, as a rare change in pace or flow. In addition, many editors are asking this construction not appear at all in a manuscript. Correct: "I bet you two had a fine time," Ben said. The Comma and As Incorrect: "Do you kiss toads often? Or are you just a little weird?" Betty asked, wrinkling her nose in distaste. "I often find the little green guys cute. You should try it sometime," Bertha said as she giggled. In both instances, the comma after asked, and the 'as' after said, indicate the dialogue tag isn't necessary. Each is greatly improved by removing the tag and allowing the following sentence to stand on its own. Correct: "Do you kiss toads often? Or are you just a little weird?" Betty wrinkled her nose in distaste. "I often find the little green guys cute. You should try it sometime." Bertha giggled. Unnecessary Tags Incorrect: Mary scoffed at the idea. "I don't think you want me at your party," she replied. Since we are firmly in Mary's head at the point of her dialogue, it can be assumed it is her reply. If you use a tag like this, ask yourself if it's really necessary. Is it obvious this is her reply? Then you don't need it. New writer's struggle with the idea that every bit of dialogue needs to be accredited to a character, otherwise the reader will be confused. The idea is to write so well from one character's perspective, that the reader will immediately tell who's dialogue it is. Correct: Mary scoffed at the idea. "I don't think you want me at your party." Over-Explaining the Tag Incorrect: "I don't care if you kiss all the frogs in the world, you aren't bringing that toad to my party," Shelly warned, her voice rising. Ask yourself these questions when you find yourself hunting for words to explain the dialogue in the tag: Is Shelly's dialogue showing her warning? Is it clear from what Shelly says that her voice is rising? What am I trying to show Shelly feeling with this tag? You won't need to ask yourself these questions as often when you become comfortable with your own style, but in the meantime, it's a good idea to look through your tags to see if any of them could be replaced, or simply deleted. Her outrage could have been shown much better by this sentence: Correct: "I don't care if you kiss all the frogs in the world, you aren't bringing that toad to my party." Shelly glared, hands on hips. Conjunction Tags Incorrect: "You look lovely in that dress," Biff said, "and I think you're going to be the belle of the ball." Although this break is all right occasionally, it should be used with extreme caution. A better approach is to lend depth to the moment at the break. Correct: "You look lovely in that dress." Biff leaned closer, his words a whisper against her flesh. "I think you're going to be the belle of the ball." Showing Impact Incorrect: She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?" "Exactly," he said. "How could you?" she asked as adrenalin rushed movement back into her limbs and she backed away. Obviously this is an excerpt from a larger scene. By the time the reader finds this exchange, they'll be familiar with all the players. To add impact to a statement, it's sometimes best to leave a tag off entirely, especially with a two-character exchange. Correct: She wanted to scream, to run for help, but she remained frozen, like a trapped animal. "You killed him for money?" "Exactly." "How could you?" Adrenalin flooded her limbs and she backed away. Multiple Tags Incorrect: "You have to understand," Sean said as he clenched her wrists tighter. His eyes darkened with a menacing plea as he stated, "He was evil, I had to do it." In this paragraph, we are firmly in Sean's head by the action described in the middle, there is no need to explain he is still speaking. Correct: "You have to understand." Sean clenched her wrists tighter. His eyes darkened with a menacing plea. "He was evil, I had to do it." As with any rules in writing, there are always exceptions. However, once you've changed any of the problematic tags in your work to these more active and exciting tags, you'll find the pace of your work becomes faster and the writing overall is much cleaner.
FILTERS-WHAT ARE THEY-HOW TO AVOID THEM By Jennifer Turner Filters are the extraneous words we use when attributing a thought or action to a character. Here are a list of a few of the most common used: He/She felt He/She heard He/She saw He/She smelled He/She tasted and others, like: He/She thought He/She believed He/She wondered The latter three (and others like them) are really not as "bad" as the above 'sensory' list. As with any general writing 'rule' there are instances when a filter is actually needed, or works better than without it. For instance, there are sentences where the word "was" works better than any other word, although we're taught to avoid using the passive form of that word. The reason filters are considered unnecessary or bad for the story, is because it keeps the writer from reaching a depth of character they might otherwise obtain. It can also jerk the reader out of the story and remind him he is reading, rather an experiencing the tale. For instance: "She felt embarrassed by his lewd comments." Could be written stronger, and give the character more depth if, you show this, rather than tell it: "She recoiled and averted her face, embarrassed by his lewd comments." In the first instance, we're being told about her embarrassment, not how she behaves when embarrassed. Now, take another character, who perhaps becomes angry when she's embarrassed and the sentence would read like this: "She clenched her fists and scowled, enraged he would embarrass her with such lewd comments." By fixing the reader deeply into the character, there is no need to tell them she felt, or she saw, the writer simply needs to show what that characters feels and sees. As in a character who has a background in fashion design might look at a sunset and see: "The glowing sun cast the landscape in vermillion and gold, a combination she could use in the fall designs." Or another character, who is a romantic at heart, might see the same sight and think: "The glowing sun cast the landscape in vermillion and gold, a lush and perfect backdrop for her date's handsome face. Neither of the above would have quite the same impact if the writer used: "She saw the glowing sun cast the landscape in vermillion and gold." Working with your characters, their experiences, and learning to show their thoughts rather than telling them, will enliven your work and carry the story to the next level.
CREATIVE OUTLINING Not an Oxymoron By Jennifer Turner The first time I was asked to write an outline, I balked. Stifle my creativity with Roman numerals and chapter titles? The process was like pulling my fingernails out. Not only had I never tried to summarize the scenes in my half finished book, but deciphering what should be detailed and what could be omitted was almost as difficult as creating the dreaded synopsis. Although the assignment was a monumental struggle, it taught me a valuable lesson. With direction, with the upcoming events in my novel detailed, I felt motivated to write the last scenes that had previously eluded me. This worked wonders, for a novel that was nearly completed. As I approached my second novel, I missed the plot line and character prompts and decided I needed a new outline. Easier said than done. With only a few ideas for scenes and very little else, the traditional outline stumped me. How could I decide what needed to go into which chapter if the story was largely a mystery? Every outline attempt was convoluted and difficult to follow. Frustrated, I gave up. There had to be a better way. As with most dilemmas, I polled other writers and published authors for possible solutions. One author explained that before she began to write, she created a synopsis and used this as both an outline and a tool to sell the unwritten book to her publisher. Impressed by this dual duty, I knew I had to find a way to make this work for me. But if outlines intimidated me, then a synopsis terrified me. How could I combine the two into a format I could follow? How could I brainstorm all the 'what ifs' and avoid the constant rearranging and renumbering of chapters? After much consideration and thought, the answer came to me. By combining the two, traditional outline and a synopsis, the story could be detailed with very little structure, but maintain a workable format. Once begun, I discovered how invigorating this form of free writing was and decided to call it a Creative Outline. What Creative Outlining Is Creative Outlining is, in essence, a scene outline. Without Roman numerals or chapter headings, you have the freedom to maneuver plot points and swap scenes. New ideas become easy to add without confusing the format. This technique allows you the freedom to write an entire novel, or other lengthy work, in a few short pages. As with most writers, I picture a story in my head, not as words on paper, but as a mini-movie in my mental cinema. Sometimes I know the whole story, other times, I only know the low and high points. Brainstorming is an integral part of shaping a novel. For any writer who's fallen in love with the inherent creativity in free writing, this is the perfect outlining technique. How It Works As aspiring writers, we sometimes forget we are the masters of our universe. Creative Outlines are written 'for your eyes only'. The sheer flexibility of this technique allows you to go back and insert as much as you'd like, wherever you'd like. The purpose is to breathe life into your outstanding inspiration. Do not edit, do not to stop to research. Use asterisks (***) to make any areas of research simple to find later on. Using the Three Little Pigs as an example, these are the steps of a Creative Outline: Step One--Begin by describing any information that occurs before the opening scene. Use quick, memory cementing sentences: Three little pigs are born on a farm, but escape becoming Easter dinner by running away. They lose their mother, family, and friends, but are safe. Until they have an encounter with the Big Bad Wolf. As they are chased, they are separated. Step Two--The opening scene should be written as above, with quick, strident sentences but labeled: Opening Scene: Little piggy is looking for a safe haven from the Big Bad Wolf and thinks how a house of straw might protect him from all his huffing and puffing. **Look up Timber Wolves** Step Three--Free write the rest, using the 'And Then' method. (And Then) Little Piggy's brother decides that he wants a house made of wood. The Big Bad Wolf would have a tough time blowing that down! **Research different kinds of wood** (And Then) Third Little piggy decides to build his house from bricks in hopes the Big Bad Wolf won't get inside. **Research types of bricks for home building** The beauty of this outline is the ability to be totally creative without stopping to find facts. When you begin the actual work, you'll find your creativity stimulated by the research and the development of your characters. For instance, I've made the Three Little Pigs runaways. Through their mutual need to survive, I can showcase their reliance upon one another and their growth as they discover the importance of teamwork and family. Feel free to play with the structure, rearrange or add as ideas occur. Making changes is much easier when you're dealing with paragraphs instead of whole chapters or scenes. Another benefit of Creative Outlining is that once you're familiar with this technique, it will become easier to create, even before it's needed. When inspiration hits, write the Creative Outline and save it for your next project. Over the course of a year, I developed seven such outlines and eventually three of these of these were requested by an editor in New York who was intrigued by my writing style. Creative Outlining provides the benefits of an outline, but allows you to maintain a higher level of creativity. As master of your writing universe, you can decide to add as much or as little as you need. This simple tool will prompt you during those dark moments when your novel falters and help keep the story on course. Have fun playing with 'what if' and follow your instincts.
A VOYAGE TO VOICE A VOYAGE TO VOICE by Jennifer Turner You've written, and rewritten and now your work is grammatically correct, the prose is as close to perfect as it will ever be, but something is missing. Why doesn't it sparkle the way it should? Why do readers react with less enthusiasm than you expected? Why doesn't the work sing like the stories written by your favorite authors? Most likely, it's because you haven't found your true voice. Voice is the one element no one can teach you. You won't find any writing rules about voice, nor will you discover your voice by reading a book, or even in this article. However, there is help to streamline your journey of self-discovery. The tips below will guide you around muddy waters and keep you on course through your voyage. Packing for the Trip As you would prepare for any extended adventure, you must also prepare for this journey. Grammar, punctuation, the fundamentals of writing, must all be understood. Without these skills, the water will be very muddy indeed. Should you be a master? That depends on who you are and what you want to write, but a good working knowledge is a must. E.B. White and Strunk's The Elements of Style is a wonderful resource and should be kept handy at all times. Armed for your quest with these weapons, you can safely pass through the departure gates and begin serious pursuit of your elusive voice. Perhaps you'll venture into the wold of critique groups or enter the arena of literary workshops and classes. No matter how you discover the craft or who teaches you, in the end, there is only you, the story, and the reader. Each is as important as the other. Which Route Will You Travel? To map your passage, you must first know where your talent lies. This can be found in the books on your keeper shelves. What do you like to read? Pick five of your favorite novels and copy the mini-synopsis from the jackets. As you work, look at the elements they share. Is there suspense in all five? Is there romance, fantasy, horror? Do the authors have more than one protagonist, more than one antagonist? Study these novels carefully, they are an important clue to your voice. Next, check the writing itself. Do these authors write mostly in first, third, or the difficult second person? Chances are, whichever format you read, it's an indication of what you'll be comfortable writing. Now that you've found the themes that most appeal to you, the format in which you are most comfortable, and have a good basic understanding of the mechanics of writing, you're ready to look at your audience. Who do you write for? If the stories you're interested in appeal to teen readers, then study recent releases targeted for that audience. If the novels you appreciate are targeted to a mainstream audience, study the upcoming authors in the genre you've designated as your own. A search of online book sellers will give you a wide variety of mini-synopses to study. By understanding who we are writing for, we can choose words and plots that appeal to those readers, and subsequently, ourselves. We've now strengthened our armory to include genre, market, and style. Write a one sentence description of your results. "I write horror in the first person for teenagers." Or, "I write romance in the third person for Christian adults." Understanding who you are as a writer is one of the biggest step in finding your voice. Plumbing Our Depths The next leg of our journey will take you inside yourself. Stream-of-consciousness writing is a necessary exercise for any author who wishes to fully comprehend their voice. When we write without concern for the mechanics, we free the voice locked within us. As with a toddler, these first steps will be awkward, shaky, and we may land on our derrieres, but as with a child, the more often we use those muscles, the stronger we become. Close your eyes while writing to resist the temptation to change your instinctual word flow. A person who is blind will develop their other senses to make up for the loss of sight. A writer who closes their eyes, will focus less on the words, and more on the content. This will help you dig deep within yourself and create characters who are vivid, emotionally complex, and believable. Don't be afraid to insert yourself into your writing. Your voice is a combination of skill, style, and the unique qualities only you can bring to the page. Every experience you've had, every memory percolating in your mind, is an unequaled gift which defines you as a writer. Fear of pouring yourself into a story will weaken the work, deprive it of the necessary oxygen to breathe, and leave the characters and plot flailing for substance. Cruising with the Current Each author has a rhythm, a beat, that accompanies what they write. This is usually called flow within the writing world. Your rhythm will be unique to you. If you find yourself drowning in a sea of doubt, this will throw you off beat. Listening to books on audio is an interesting way to find your own cadence. Your local library will likely have a wide variety of authors to choose from. Find a few which appeal to you, and if you can, find an audio version of one of the five books you chose above. When you listen to the words read aloud, concentrate on the tempo, the cadence, for half an hour. Begin writing immediately. More often than not, you'll start with the rhythm you just heard, but after a few minutes, your internal beat will take over. Now you've discovered your flow. As we round the last bend in our journey, we must reflect on the souvenirs we've collected throughout the voyage. We know the themes, the style, the market, the beat in which we are most comfortable writing, and have learned how to free our voice by stream-of-consciousness writing. The end is in sight. Believing the Compass Our last major hurdle is confidence. Nothing detracts from our authorial self-esteem more than fearing rejection, and this obstacle is the hardest to overcome. A sailor navigates with a compass, either a mechanical device, or by the north star. He does not work on instinct alone. It is not "I think I am a writer, therefore I am," it is, "I believe I am a writer, therefore I am." Faith in your instincts and trusting your inner compass are your allies as we near the end of our voyage. In the beginning I said you would not find your voice by reading a book, or this article. The only true way to discover your voice is by writing, writing, and writing more. Your challenge now, is to write a throw-away tale. Work fast and furiously on something you have no intention of publishing, or showing another soul. The longer this work is, the more you'll discover about yourself and your abilities. Pour yourself into the work, use everything you know, take chances, take risks, but give yourself the freedom to be yourself. Once finished, you may change your mind and decide it's worthy of pursuing seriously, but for the interim, consider it your athletic club, someplace to exercise before a public appearance. How will you know when you've found your voice? There isn't any have-I-found-my-voice test you can take, but there is a saying that the process is like falling in love--when it happens, you'll know. It is literally as if a switch is thrown inside you and voila!, you have a voice. Once discovered, your voice is a hardy thing, it will never leave you, only become stronger. This voyage to voice is by no means simple. The destination is only the beginning. Once there, a whole world will open to you. The possibilities are endless, and thrilling.