Debra wonders what our characters' home say about them.
Where do your characters live? Is it a sprawling ranch house? A high rise condo? An apartment over a store? Is it in a big city? A small town?
What does their home look like on the inside? Traditional and cozy? Sleek and modern? Sparse because they spend more time at the office than at home? What is the color scheme? Cool blues or greens? Earthy browns and tans? Soft whites and greys? Do they have artwork on the walls? Picture of their friends and family on the mantel? What kinds of books or DVDs or CDs are on the shelves?
Our characters' living space can give us a lot of insight into their personalities. We can learn a lot about them by exploring the place they call home.
Therefore, when describing the space, we shouldn't skimp on the details. However, every detail should have a purpose. Are there piles of clothes on the bedroom floor and dishes in the sink? Our heroine is messy. Are the glasses lined up in parallel rows and the couch and loveseat form a perfect right angle? Our hero is precise and organized.
The sea scape on the bathroom wall tells us even though our heroine lives up in Wisconsin now, she misses the sandy beaches of her childhood home in Florida.
The Kenny Chesney, Toby Keith, and Brad Paisley CDs tell us our hero likes country music. The weight set in the spare room and the fruits and vegetables in the fridge tell us being healthy is important to him.
Do the pictures of nieces and nephews on the end tables tell us the heroine longs for a family of her own? Or that family is important to her?
It's easy to get carried away in describing a place. We let our imaginations run wild as we create the perfect space. But don't forget, the space needs to be perfect for our character, not a magazine spread.
Even the phrasing can matter. In This Feels Like Home, the heroine never referred to her condo in the city as home. It was her house. Or her condo. Or back in Chicago. As her relationship with the hero deepened, the word 'home' was used for his apartment to show the growing connection between her and the hero. Home is a more emotional word than house: each brings different connotations.
In our stories, each and every word matters and should have a purpose.
Until next time,
Happy Reading!
Debra
www.debrastjohnromance.com
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Thursday, February 26, 2015
Wednesday, February 25, 2015
Handy Hints
Here are a few hints Paula has picked up here and
there:
1. If your work makes you feel—cry, laugh, explode—the chances are your reader will feel too.
2. Avoid delusions of literature. Too many fancy words get in the way of what’s going on and will make the action and characters harder to see.
3. You will write a lot of words that you don’t need as you get to know your characters. They can hold up the flow of the story. Cut ruthlessly.
4. Look for the sentences that should be paragraphs and the paragraphs that should be sentences. Look for the places where you’ve waffled on about something which you could deliver in a line, and look at where you’ve delivered something in a line which is worth expanding into a paragraph or scene.
5. When you start a story everything is provisional until you have finished it so don’t over polish your beginning – you may end up having to cut it anyway.
6. It’s better to push on to the end of something than agonise over sentences. The whole thing will need redrafting anyway. (I keep trying to tell myself this, but I still agonise over sentences, even in a first draft!)
7. When you think you have finished a piece, accept that the hard part now starts – turning the raw material into something better.
8. Avoid superfluous dialogue. Dialogue should tell the reader more about the character or move the plot forward. If it doesn’t, cut it.
9. Break up dialogue—you are not writing a movie script. Use actions or movement—but not too much or your readers will get dizzy.
10. Ditch unnecessary tags in dialogue—but don’t have your characters calling each other by name all the time (people don’t in ‘real life’)
And finally, here’s something I saw today on Facebook:
"Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people only learn by error. "
William Faulkner, The Paris Review (1956)
1. If your work makes you feel—cry, laugh, explode—the chances are your reader will feel too.
2. Avoid delusions of literature. Too many fancy words get in the way of what’s going on and will make the action and characters harder to see.
3. You will write a lot of words that you don’t need as you get to know your characters. They can hold up the flow of the story. Cut ruthlessly.
4. Look for the sentences that should be paragraphs and the paragraphs that should be sentences. Look for the places where you’ve waffled on about something which you could deliver in a line, and look at where you’ve delivered something in a line which is worth expanding into a paragraph or scene.
5. When you start a story everything is provisional until you have finished it so don’t over polish your beginning – you may end up having to cut it anyway.
6. It’s better to push on to the end of something than agonise over sentences. The whole thing will need redrafting anyway. (I keep trying to tell myself this, but I still agonise over sentences, even in a first draft!)
7. When you think you have finished a piece, accept that the hard part now starts – turning the raw material into something better.
8. Avoid superfluous dialogue. Dialogue should tell the reader more about the character or move the plot forward. If it doesn’t, cut it.
9. Break up dialogue—you are not writing a movie script. Use actions or movement—but not too much or your readers will get dizzy.
10. Ditch unnecessary tags in dialogue—but don’t have your characters calling each other by name all the time (people don’t in ‘real life’)
And finally, here’s something I saw today on Facebook:
"Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people only learn by error. "
William Faulkner, The Paris Review (1956)
Tuesday, February 24, 2015
Who Are Your Characters’ Helpers?
Jennifer talks about secondary characters...
Unless your characters are either a) living in a bubble or
b) the most enlightened minds in the world, your characters need some sort of a
helper in order to understand how and why they’re doing something.
Our characters don’t live in a bubble. As Ana mentioned
yesterday, they have a history that affects their today and their tomorrow.
They interact with people and they react to events.
If our characters were the most enlightened minds in the
world, chances are, we wouldn’t be writing about them, since there wouldn’t be
a story there. We wouldn’t need to see the trials and tribulations they go
through in order to reach true love. They’d snap their fingers and live happily
ever after.
Therefore, they need helpers. In my books, those helpers are
family, friends and children. In the manuscript that’s out with my agent
currently, my character, Cassie, has close friends in whom she confides her
fears and her feelings. They help her work through things and sometimes even
push her toward the hero. They also meddle a little in her affairs by going
directly to the hero and warning him to be careful, telling a little about her
backstory and providing hints to the reader.
In my current WIP, Book 3 of my Women of Valor series, both
the hero and heroine have family who help the reader understand their psyche.
By seeing them react with their mother’s (especially the one mother who never
lets anyone forget ANYTHING), the reader gets to see what makes them tick. The
heroine also has a nephew, who’s seven. He helps explain things in a childlike
way and is a great tool when something has to be explained step by step, but I
don’t want to make the reader feel like an idiot.
These secondary characters are fun to write and develop and
sometimes, it’s like laying out the pieces of a treasure map. They’re the
reader’s guide to finding the X (and the O) on the journey to happily ever
after.
Who are your helpers?
Monday, February 23, 2015
H is for History
Ana muses on history.
Not mine, though. That I'll save for the psychiatrist's couch.
I'm thinking history in stories.
It's obvious that historical novels are tied to a historical period, and the characters have to act within that period's historical realities. Places, dates, transportation, food, clothing, social mores.
Timetravel stories must also abide by what we know of history if the character goes back in time. A travel into the future story is more unencumbered, but veers quickly into paranormal genre.
But in a sense, every character lives in a history. The history of their town or city. Setting involves history. Does he live in a modern section of town, but was born in a crumbling slum. Does her father owe gambling debts that she is forced to pay off to protect her younger brother? Her father's history comes into play.
I guess I am using the word 'history' in a liberal sense. But it's more than backstory. It's the vibrant setting we strive to create, and the dynamic interpersonal worlds our characters inhabit.
Every day, yesterday is history.
Not mine, though. That I'll save for the psychiatrist's couch.
I'm thinking history in stories.
Timetravel stories must also abide by what we know of history if the character goes back in time. A travel into the future story is more unencumbered, but veers quickly into paranormal genre.
But in a sense, every character lives in a history. The history of their town or city. Setting involves history. Does he live in a modern section of town, but was born in a crumbling slum. Does her father owe gambling debts that she is forced to pay off to protect her younger brother? Her father's history comes into play.
I guess I am using the word 'history' in a liberal sense. But it's more than backstory. It's the vibrant setting we strive to create, and the dynamic interpersonal worlds our characters inhabit.
Every day, yesterday is history.
Sunday, February 22, 2015
Paula's Sunday Snippet - another sneak preview of 'Irish Intrigue'
Continuing the first meeting between Charley and Luke in a small supermarket in Clifden, County Galway:
"Hunter was my mother-in-law's maiden name. Maybe you share the same ancestry.
"Maybe." She'd no intention of telling him it was her married surname. "I've never done any family history research."
"Me neither. Can't run the risk of finding ancestors who were sheep stealers, or cattle rustlers, or horse thieves. Could ruin my reputation."
Intrigued, she raised her eyebrows. "Why?"
"I'm a vet. My clients might think I'm out to steal their animals."
She laughed. "I don't think thieving is in one's genes."
"Ach, I'm not so sure. I once stole six daffodils from the churchyard for my mam on Mother's Day. I 'fessed up at the end of the day, though. Guilty conscience, it was."
"How old were you?"
"Seven, and I'd spent all my money on a card for her, so I couldn't afford any flowers."
"I'm sure she understood."
"She was relieved, 'cause she thought I might have nicked them from the shop in the village. But she made me buy and plant six daffodil bulbs in the churchyard later that year."
Charley smiled. "Wise lady."
"Hunter was my mother-in-law's maiden name. Maybe you share the same ancestry.
"Maybe." She'd no intention of telling him it was her married surname. "I've never done any family history research."
"Me neither. Can't run the risk of finding ancestors who were sheep stealers, or cattle rustlers, or horse thieves. Could ruin my reputation."
Intrigued, she raised her eyebrows. "Why?"
"I'm a vet. My clients might think I'm out to steal their animals."
She laughed. "I don't think thieving is in one's genes."
"Ach, I'm not so sure. I once stole six daffodils from the churchyard for my mam on Mother's Day. I 'fessed up at the end of the day, though. Guilty conscience, it was."
"How old were you?"
"Seven, and I'd spent all my money on a card for her, so I couldn't afford any flowers."
"I'm sure she understood."
"She was relieved, 'cause she thought I might have nicked them from the shop in the village. But she made me buy and plant six daffodil bulbs in the churchyard later that year."
Charley smiled. "Wise lady."
"Aye, taught me a lesson I never forgot."
"So your clients probably aren't in any danger of you becoming a horse thief."
He laughed, a deep rich laugh that sent a ripple through her. "I hope so. Anyhow, what brings you to this neck of the woods? We don't see many visitors here once summer's over."
She hesitated before deciding vagueness was the best response. "I have a temporary contract at a hotel near Lough Doona."
"And you're English, aren't you?"
"Yes, I've just flown over from London."
"London? Sure, and you'll find things somewhat quieter here."
"Of course. Do you live locally?"
He glanced down at his brown cords and mud-spattered black boots. "Aye, I suppose I do fit a Londoner's image of an Irish culchie—country bumpkin to you, but I clean up quite well when I'm not working."
"I'm sorry, I didn't mean—" Momentarily flustered, she saw his eyes crinkling in amusement again. "I didn't even notice what you were wearing. Your Galway accent gives you away."
"Oi be born and brawt up here, so will ye let this culchie buy ye a cuppa tea?" he replied in an even broader accent which made her laugh. "Just to show there's no hard feelings," he went on in his normal voice. "There's a pub across the way that serves tea, or coffee, if you prefer."
Recognising the gleam of admiration in his eyes, but recalling his phone call about some kids and his mention of a mother-in-law, she shook her head. The last thing she needed was a philandering married man who accosted lone women in supermarkets. "Thanks, but I must finish my shopping and then carry on to—to my friend's place."
The small white lie slipped out. Although he seemed genuine, common sense warned her against admitting she would be alone at a cottage in an Irish village.
'Irish Intrigue' will be released at the beginning of March.
"So your clients probably aren't in any danger of you becoming a horse thief."
He laughed, a deep rich laugh that sent a ripple through her. "I hope so. Anyhow, what brings you to this neck of the woods? We don't see many visitors here once summer's over."
She hesitated before deciding vagueness was the best response. "I have a temporary contract at a hotel near Lough Doona."
"And you're English, aren't you?"
"Yes, I've just flown over from London."
"London? Sure, and you'll find things somewhat quieter here."
"Of course. Do you live locally?"
He glanced down at his brown cords and mud-spattered black boots. "Aye, I suppose I do fit a Londoner's image of an Irish culchie—country bumpkin to you, but I clean up quite well when I'm not working."
"I'm sorry, I didn't mean—" Momentarily flustered, she saw his eyes crinkling in amusement again. "I didn't even notice what you were wearing. Your Galway accent gives you away."
"Oi be born and brawt up here, so will ye let this culchie buy ye a cuppa tea?" he replied in an even broader accent which made her laugh. "Just to show there's no hard feelings," he went on in his normal voice. "There's a pub across the way that serves tea, or coffee, if you prefer."
Recognising the gleam of admiration in his eyes, but recalling his phone call about some kids and his mention of a mother-in-law, she shook her head. The last thing she needed was a philandering married man who accosted lone women in supermarkets. "Thanks, but I must finish my shopping and then carry on to—to my friend's place."
The small white lie slipped out. Although he seemed genuine, common sense warned her against admitting she would be alone at a cottage in an Irish village.
'Irish Intrigue' will be released at the beginning of March.
Friday, February 20, 2015
G is for Gift
Margaret looks at the gifts we receive and give
Is being able to write a successful novel a gift? Or is it luck? Or is it in fact plain and simple hard work? I’m in two minds. The gift of being able to string a few sentences together is within the capabilities of all of us. But to expand those words into a full length novel is far more than a gift. In essence it means taking that gift of being able to write those few words and adding to them until they become a whole book-length story.
If only it were that simple!
Writing is as draining as doing a manual job. Believe me, at the end of a day’s writing I flop down in the nearest armchair thoroughly worn out. The gift! Is it worth it? A gift is also a present, so isn’t that what writers do – give their readers the gift of their imagination? Although it takes many months of hard work it is ultimately our gift to the people who read our books. I read, we all read, and I appreciate all the hard work that has gone into the books I read.
My six year old grandson wrote a story the other day. Only one page but it was a story he had thought up and written down so that we, his family, could read it. He was so proud.
So next time you read a book, think of it as a gift from the author.
Is being able to write a successful novel a gift? Or is it luck? Or is it in fact plain and simple hard work? I’m in two minds. The gift of being able to string a few sentences together is within the capabilities of all of us. But to expand those words into a full length novel is far more than a gift. In essence it means taking that gift of being able to write those few words and adding to them until they become a whole book-length story.
If only it were that simple!
Writing is as draining as doing a manual job. Believe me, at the end of a day’s writing I flop down in the nearest armchair thoroughly worn out. The gift! Is it worth it? A gift is also a present, so isn’t that what writers do – give their readers the gift of their imagination? Although it takes many months of hard work it is ultimately our gift to the people who read our books. I read, we all read, and I appreciate all the hard work that has gone into the books I read.
My six year old grandson wrote a story the other day. Only one page but it was a story he had thought up and written down so that we, his family, could read it. He was so proud.
So next time you read a book, think of it as a gift from the author.
Thursday, February 19, 2015
G is for Good Guys
Debra takes a look at good guy heroes.
I tend to write good guy heroes. They may not be looking for love or they might not want their heart to be broken again, so they're not always ready when the heroine shows up, but deep down they are good guys. If anything, they might be too perfect. My heroes are always good looking. They have good jobs. Good friends. They get along with their families. They're tough, masculine, and sexy. Definitely not beta heroes, but not quite alphas either.
Am I stuck in a rut? Perhaps. For me, I guess, romance all comes down to the fantasy of finding the perfect guy and realizing he's just as crazy about you as you are about him. Real life can be depressing. When I read and write I want something larger than life. Maybe even too good to be true. (Of course there's also the fantasy of taming those bad boys to reveal their tender sides.)
Maybe this means my conflicts are only superficial, and I need to dig deeper into my characters.
Maybe it's simply my niche or my style. Readers always know what type of story to expect from me.
Once, I strayed slightly from the good guy mold. My hero in An Unexpected Blessing is an ex-con. But by the time the heroine meets up with him, he's certainly seen the error of his ways and wants nothing more than to go straight and be a good guy: for himself and for her, too.
As part of my "Holidays at The Corral" spin-off series, I am envisioning one for the Fourth of July that will feature a Marine: a vet who comes home scarred both physically and emotionally. This will be quite a departure for me. I'm not sure I'll be able to pull it off. I'm used to delving into the good guy's head: exploring the psyche of a wounded warrior will be a whole new experience for me.
Do you prefer a certain type of hero?
Until next time,
Happy Reading!
Debra
www.debrastjohnromance.com
I tend to write good guy heroes. They may not be looking for love or they might not want their heart to be broken again, so they're not always ready when the heroine shows up, but deep down they are good guys. If anything, they might be too perfect. My heroes are always good looking. They have good jobs. Good friends. They get along with their families. They're tough, masculine, and sexy. Definitely not beta heroes, but not quite alphas either.
Am I stuck in a rut? Perhaps. For me, I guess, romance all comes down to the fantasy of finding the perfect guy and realizing he's just as crazy about you as you are about him. Real life can be depressing. When I read and write I want something larger than life. Maybe even too good to be true. (Of course there's also the fantasy of taming those bad boys to reveal their tender sides.)
Maybe this means my conflicts are only superficial, and I need to dig deeper into my characters.
Maybe it's simply my niche or my style. Readers always know what type of story to expect from me.
Once, I strayed slightly from the good guy mold. My hero in An Unexpected Blessing is an ex-con. But by the time the heroine meets up with him, he's certainly seen the error of his ways and wants nothing more than to go straight and be a good guy: for himself and for her, too.
As part of my "Holidays at The Corral" spin-off series, I am envisioning one for the Fourth of July that will feature a Marine: a vet who comes home scarred both physically and emotionally. This will be quite a departure for me. I'm not sure I'll be able to pull it off. I'm used to delving into the good guy's head: exploring the psyche of a wounded warrior will be a whole new experience for me.
Do you prefer a certain type of hero?
Until next time,
Happy Reading!
Debra
www.debrastjohnromance.com
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