What Can Go Wrong?

I’ve been continuing to work on my outline of my new book each morning for half an hour and am slowly working through each aspect of my story. I have the story idea in my head clearly, but when it gets to the nuts and bolts out outlining there is some work involved to flesh out the characters, the voice and tone, all of the craft elements, and polishing the overall concept. It’s more difficult than you might think. I know how the story begins. I know the climax. I know the ending. I know what it is I want to say (premise). But what happens in between these chapters and how do these other chapters move the story forward in a way that is logical, full of conflict, and reveals important information to the reader? Hence the outline.

This process of outlining BEFORE I write a single word makes sure I have a viable story concept, that the story will meet genre requirements, ensure that my characters are not flat, and ensure that there is tension on every page without wasting valuable time writing without a plan and by the seat of my pants for days, weeks, or months on chapters and scenes that won’t work in the end and would just get edited out of the story.

Ideally, the plot and structure of the novel will be clearly in place before the creation process begins. Makes sense right? But I still have to know the basic details of every scene beforehand.

I’ve structured my document so I know where the major plot points are but I am still working through what happens in each chapter and how those events move the story forward. If not thought out in advance it is easy for me to lose tension on the pages (no tension equates to boring). If not thought out beforehand I might also make things too easy for my characters. Nothing should be too easy for my characters. Ever. Easy is boring.

To circumnavigate the issue of not enough tension I started adding a brainstorming process to each section/chapter/scene

I type out:

WHAT CAN GO WRONG?

What I mean by that is what can happen in the chapter that the character doesn’t expect, is contrary to their plans, or can become a surprise direction they (and hopefully the reader) didn’t expect. Then I brainstorm with bullet points on all the possible things that can go wrong whether they work for the story concept or not. The goal is just to get as many contrary ideas on the page as possible. Wackadoodle (a technical term) is okay. Logical is okay. I just brainstorm.

Below is an example of the process for a funeral scene for the main character’s family member.

WHAT CAN GO WRONG? (Funeral Scene)

  • Someone at the funeral commits public suicide out of guilt or grief
  • It is discovered that it’s the wrong body in the casket
  • The character breaks out in laughter while giving the eulogy
  • No one comes
  • The pastor gives the wrong eulogy (for the wrong person)
  • The video presentation is for somebody else
  • Someone drops the ashes and they scatter everywhere
  • The pallbearers drop the coffin
  • The characters follow the wrong hearse to the funeral site
  • The deceased’s cell phone goes off (in the casket)
  • Two secret girlfriends of the deceased discover each other and fight over the body
  • The church catches on fire
  • The body animates as a zombie and jumps out of the coffin
  • Etc…

Obviously whether the body is cremated or embalmed will direct some of these actions (which forces me to decide if the body will be creamed or embalmed for the funeral…which triggers the idea that the characters could fight over whether the body should be cremated or embalmed before the funeral…So now I have a note in the outline to sketch the scene about the fight over cremation and embalming, and more work for tomorrow morning.

Of course, not all of these ideas are appropriate for the story, nor will they work for the direction things need to go. Since I am not writing a zombie book, it’s not likely that the body would animate as a zombie. But, my character could visualize this happening. My character could also worry that the church catching on fire, and her dead family member runs out of the burning church at their own funeral, for example. Hmmm. Maybe. It would create tension.

The point of this exercise is that the brainstorming process helps me figure out interesting ideas and directions for my story while I am still in the outlining stage. Most likely I wouldn’t even think of these things if I just wrote without an outline. But then I would have to rewrite and revise and workshop ideas when I got stuck because I didn’t know where the story should go (writer’s block).

If you haven’t outlined before, I recommend you try it. Take your time and really think about the overall arc of the story, the plot points, the voice and tone, mood, all of those things. Think about your premise. Think about the potential conflict and trauma you can put your character through. Don’t make it too easy (for them or you). Think about all the possible things that can go wrong. It’ll be worth your time.

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Creating a Regular Writing Schedule and Other Stuff

It’s been a while since I’ve been on a regular blogging schedule and, quite honestly, I can’t even remember what my last topic was. Much has happened in the last few months I’ve been absent. My elderly folks got in a car accident (they are home now and doing much better) which derailed me for a few weeks, I got vertigo (which is so horrible it both sucks and blows and I am hoping it totally goes away any second now), my book came out (with minimal pomp and circumstance due to the vertigo etc.), and lots of work and time has been given for Colorado Gold (The annual writer’s conference for Rocky Mountain Fiction Writers). And I still run the publishing house which is a never-ending round-robin of submissions even with a couple interns and a solid cohort of editors. I’ve needed a nap on most days! But alas, napping is not my forte.

I’ve finally got myself back on a basic writing schedule. Because, you know, I want to write books and stuff. It’s not much of a schedule, about 30 minutes at 6am, but it’s a start and given physical and emotional dealings of late I’ll take what I can get. I’ve blocked out the time on my calendar and for the last many days have been working on a story idea, because even though my inclination is to just write, I know that I will save time and frustration and end up with a better book by going through the outline process, and the character development process (Oh! That’s what the last blog topic was!), doing all the research, figuring out the ending, the theme, the premise, and all the other steps of planning and outlining before I write a word. I wasn’t so thorough with the pre-planning on the last book, and I definitely learned my lesson.

So how do you create a regular writing schedule?

Everyone is different and will have a different process but this is how I do it.

  1. I create a comfortable writing space. I can’t work in clutter. It’s distracting and makes me tense. Consequently, my desk is clean. I have tasks to do (always) but for me, I can put those aside if they are organized. I know those tasks aren’t going anywhere and when I want or need to work on them I can. But for writing, I need a clean space to write. No little pieces of paper or sticky notes, or stacks of bills, or piles of editing. Just desk, mouse, keyboard, screen. And coffee or libation of choice. That’s a given for me. You probably are different. Do what you need to do to create a comfortable writing space. On the toilet? Sure. Whatever works for you. The main point is that I need to get my ass in a chair in order to write.
  2. I block out some time on the calendar. If I don’t block out writing time, it is the easiest thing in the world to push aside when something pressing barges its way into my schedule. Since I am much more creative in the morning than I am at other times of the day, I block out time before work. Right now, 30 minutes is what I can do if I want to get everything else done too without having to get up at 4am. I am getting up around 5:30am which is as early as I want to get up at the moment. But as it becomes more and more a habit again to write each morning, all the morning tasks will start to flow and the schedule may get adjusted. I’ve been in that place before where I am writing consistently and will get in that place again. It’s the creating the habit that is hard for me. I’d rather sleep in. Maybe you are a night owl and you are most creative at 2am. Fine. Have a glass of warm milk and write at 2am. The main point is to get your ass in a chair and write.
  3. I use Scrivener (and no I don’t get any kickbacks for referrals). It is inexpensive at $45 and is very good for outlining and organizing notes, and character bios, photos, research, and writing. It works similarly to Word. It’s sort of like a digital writing binder that is easy to organize and access information. It has some learning curve to it, but if you can stomach the Youtube videos it might help you out too with outlining and such. You can try it for free for a month or so if you want to. (https://www.literatureandlatte.com) If you prefer Word or Pages then use Word or Pages. Or OpenOffice. Or whatever. Just use whatever you use and write regularly.
  4. I work on whatever I feel like working on for that 30 minutes. If I need to develop a character I do that. If that triggers a plot idea, I sketch that in. As ideas come, I adjust the plot line. If I need to brainstorm an idea to see how that feels I do that. And I don’t stress about anything. I just work for 30 minutes on the story and all that goes with it, and then I am done for the day. My deadline is a 30-minute deadline. Maybe you are more comfortable with an hour. Or two (glutton). Or eight (censored). The point is to block out the time and use that time consistently for writing. Books don’t write themselves.
  5. By writing every day for 30 minutes I create a routine that becomes a habit. Over time I can extend my schedule, or word count or whatever I need to do, but right now I just need a routine that I can follow. Maybe this is the lazy writer’s way by writing in 30-minute blocks, but it works for me. When I get to actual writing I figure I can write at least 250 words in 30 minutes. 250 words is a page. If I do that every day for a year I will have a 365-page book. It’s wonky writer’s math but at the moment I’ll take what I can get. I write much faster than that if I know where I am going, hence the need for outlining.

Here’s the most important thing. The muse comes with consistency. When you are in the habit of writing on a regular schedule, your subconscious brain is always working on stuff because it has the expectation that it needs to work on stuff. The routine matters. If you just write when you feel like it you most likely won’t finish anything in a timely fashion. If you don’t feel like writing but you write anyway, you will write a book.

 

A Trick of the Light - Brooks, Susan

Character Development Part 4

Character Development Part 4

We’ve been talking about how to make sure your characters are three-dimensional people rather than Flat Stanley. We have been chatting about the four things that readers learn from novels.

Who

What

Why

Why Not

You know who your characters are now. You know more about them than you did before. You know their past and their idiosyncrasies. You know their biggest fears. You know their physical features and jobs. You know your characters better than you know yourself and all of that knowledge is necessary for you to write them well.

The characters are the who part of this concept. Now let’s look at the what part.

The what part is about what your character wants. It’s the goal part. It’s that elusive thing that your character wants to obtain or accomplish. If your character has no goal, well then, they are a weak and boring character.

What is a goal?

A goal, according to the dictionary, is the result or achievement toward which effort is directed. A goal is your character’s aim. And it is your character’s goal that helps your reader to feel your character’s conflict when they aim to achieve or obtain said goal.

What does your character want?

Think about this. Your character should want what they don’t have. This want should equate to having a determined need. They are desperate for this goal. They just gotta have it, gotta reach it. Failure is not an option. The goal has got to be an urgent thing.

When people need something, they tend to act against their own self-interest. Think addiction (apologies to any with this issue – it’s not my intention to make light). Deep down, people don’t want to be an addict. The issue is that they need the drug (or sex, or cigarettes, or gambling, or whatever). The need is beyond their ability to overcome (in this moment).

The goal has to be important enough that your character will move heaven and earth to obtain said goal. They will endure hardship. They are willing to risk their life. If they fail, life will be more than just disagreeable to them; life will be unbearable. The goal must also be urgent. Urgency is paramount to your character’s goal. Not only must they have this thing, they must have it NOW.

Really?

Yes.

Be thinking about your character’s goal. Next time we will consider what kinds of goals are good ones.

Character Development Part 2

For the last couple of weeks, you’ve been working on creating character profiles. Well, maybe. You might have said, “Why do I need to do this?” I know. It can be a weird exercise if you are not used to it. After all, these are not real people. They are fake, pretend people. Who cares?

Here’s the deal.

Before you worked on your character bio, you just had Dr. Betty Boomerang, the expert in Medieval Literature whose expertise was needed to keep the world safe from terrorists who used Medieval codes in their warning memos (or whatever) before they bombed points of interest in your city. Betty rambled from point A to point B, but she never seemed to be a real person. Poor Betty is a flat and underdeveloped character. You’ve made things up for her as you went along to add interest to her as a character. You’ve tried to add some sparkle to Betty’s big blues, but she still seems flat and shallow. Your critique group doesn’t have any connection with her, and Poor Betty is the worst possible kind of character…she is boring.

But, if you worked up Betty’s bio, you would know that Manny Stump pushed her off the back porch and chipped her front tooth when she was in third grade, and this is why she is self-conscious and doesn’t smile much. People think she is super serious, though she isn’t. Sure, Betty could get her tooth fixed but she was raised not to be vain by her hyper-religious mother, and this is also why Betty is single. Her guilt and shame regarding sex are not something she has overcome yet, even though she is thirty-seven. You would know that Betty saw her sister fall from a tree and die at the age of nine, and this is why she has an unnatural curiosity regarding death and death practices. It stems from Betty’s early childhood. Consequently, she has spent her life studying Medieval literature and all the ways that people died and were tortured in the middle ages, and why she knows all about Malleus Maleficarum. You would think that Betty would be frightened of confronting terrorists and seeing the dead at the explosion site, but Betty’s motivation is so great that she revels in beating the terrorists and saving lives. Now Betty is a real person, with a real past, and when you write her, whether consciously or unconsciously, Betty comes alive. By the end of the book, maybe she even has a wild and crazy night with the super cute detective she met on the case. That certainly stirs things up for her character and is a nice ending to her internal story arc.

Will you use all this stuff you created for Betty in the book you are working on? Probably not, but the fact that you now think of her as a real person, instead of a flat character makes your book all that much better. Your critique group is thrilled! Maybe you will submit this manuscript to a publisher!

Having a past makes Betty more interesting, and the fact that you now know her intimately means that you can use some of that knowledge to figure out your plot. You can use Betty’s past to figure out her motives and goals, and how she will overcome all the conflict she is about to encounter.

Knowing this stuff helps you with the four things that readers learn when they read your book:

  • WHO
  • WHAT
  • WHY
  • WHY NOT

If you haven’t yet created your character bios, I do recommend you work on it for each and every character in your book. It will help each character be a distinctive, three-dimensional person with their own voice, motives, and goals. No flat and boring characters, please.

Next time: We move toward WHAT

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Character Development

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You answered all the why questions from last time about why you want to write a novel, and are still here. Good for you!

So, let’s press on.

Readers generally learn four things from books.

Who, what, why and why not.

  • Who = the protagonist
  • What = the plot
  • Why = the goals and motivation of the characters
  • Why Not = the conflict

Today let’s talk about the who.

The who part is your protagonist or main character. You probably have a good idea of who your protagonist is or so you think. But do you know enough? Do you know your characters past? Do you know their deepest desire? How does this character shape your plot?

Should you really know who your main character is before you start writing?

Yes.

Seriously.

It can be very helpful to create a bio for your protagonist. Actually, I recommend that you create one for each character in your novel because you may discover character traits that you can use to add interest and tension to your story.

A character biography is everything about everything about your character, and if you create a biography, you can reference it later to make sure your character stays true to themselves. The bio may contain information not important now, but may be very important later.  The biography will also help you understand your character so you can convey that to your reader.

If your character seems vague, it’s because you don’t know who they are. If your reader finds your character vague, they will close the book. Not good.

For each character, consider creating a bio that includes all or some of the below.

Name:

Role (what role do they play in your story):

Age:

Income:

Birthplace:

Marital Status:

Children and their ages:

General appearance:

Props (cane, pipe etc):

Do they use specific phrases:

What does their voice sound like:

Living arrangements:

Occupation and employment information:

Degree of skill at occupation:

Character’s feelings about occupation:

Family background:

What do they want:

Why do they want it:

Flaws:

Vulnerabilities:

Attitude:

Arc (how does this character evolve from the beginning of the book to the end):

Biggest fear:

Likes:

Dislikes:

What secret is in their past:

Relationships:

Believes in god/religion etc:

The primary reason to create a character bio is so that you will know who they are in detail, and also so your characters will become fully fleshed-out people instead of boring cliché characters.

Creating the bio will also establish why this character is in this story. If they are throw-away characters, should they be in the plot? Maybe not.

Each character should be multi-dimensional, distinctive individuals with their own voice, goals, motivations, conflicts, attitudes, indiosyncrasies, vulnerabilities, and personalities, etc.

There are tons of character biography examples on the Internet, so if you need to expand this questionnaire, you are sure to find more questions.

 

 

Writing and New Year’s Resolutions

Happy New Year!

I expect some of you made a New Year’s resolution somewhere along the lines of writing, or writing more, or writing every day. Good for you! I wish you much diligence and consistency. Some of you made different goals. You are going to write a book this year, or you are going to get published, or you have always wanted to be a writer and this year you are going to write a book and get published. Or some variation of the theme. Good for you!

But here’s a question.

Why?

I am not trying to be snarky, or ornery, or belligerent. I really want us to think about our motivations. What is your reason for wanting to write a book? Writing a book is work. Most writers I know don’t like the act of writing overly much. They like having written a book.

I say again, why?

Do you just have to write? That’s sort of okay, I suppose. But Why? Why do you just have to write? It is obsessive compulsiveness? Is writing how you work through your inner demons? Writing is a good way to do that. But what has just having to write got to do with writing a book? They aren’t necessarily the same thing. Are they?

Do you want to write a book so you can be an author? Why? Do you want to have something to talk about at parties? Do you want to use it as a pick-up line so you can get a date? I know someone like this, so I am just asking. Why do you want to be an author?

Do you want to be able to say you wrote a book? There is value in that, don’t get me wrong. But if this is your reasoning, will you be content with anything you throw down on paper or are there standards involved?

Do you want to write a book other people will read or is writing the book just for you and your identity? Either option is fine, but these will lead down different paths.

Do you have something to say? This is a good reason in my opinion. You want to write a book because you have something to say. Are you willing to learn the necessary information so you can say what you want to say in a way that the person (or people) you want to say it to will actually read it?

Do you want to entertain? This is also a reasonable thought. Will you work on your writing craft so that you actually write something entertaining?

Do you need or want your book to sell? For some, this doesn’t matter. For some (most?), being able to sell their book and have people like it is enough. Some want to be a New York Times bestselling author. This is also a good goal but will also take practice, and time, and work.

Let’s move forward with the assumption that you want to write a book because you have something to say that you feel is important to put out into the world (remember books have premises and themes that put the main idea out there, even in genre fiction), and you want to have your book read and loved by as many people as possible. Are you willing to do the work involved even if there is no guarantee that your book will sell, or be loved? If you get bad reviews from readers, will you use that as a learning tool but keep writing, and keep working on being a better writer? If you book only sells three copies because it is competing with three million other books published that year, will you be content that you want to write books and keep writing?

I ask that question because I know more than a couple of reasonably successful authors that got upset about something or other and quit writing. They were more successful than most writers, and yet they quit. Their success didn’t meet their own expectations. What are your expectations about your writing? If you don’t meet those expectations are you going to keep going? Are you going to quit? Think about that now.

What kind of book do you want to write? This is important, so pay attention, because you want to publish a book that sells and that readers will love, or so you said a minute ago. You need to know the marketing category, and the genre, and tropes, and reader expectations, and more if you want readers to love your work.

Why? Why does the kind of book matter?

Because readers have certain expectations of what a particular kind of book, i.e. the kind of books they like to read, looks like. This means that you, the author, need to know what that is so you can meet your readers’ expectations. I am not saying write in the hot genre of the moment. I am saying that if you want to write a thriller, you need to know what thriller novels are, how they work, what they feel like, etc.

If you want to write a thriller, how many thrillers have you read? Yes, that matters. Do you read thrillers? Have you read any thrillers? If you want to write a thriller shouldn’t you read thrillers, and have read as many thrillers as possible so you have examples in your brain to draw from? How do you expect to write a great thriller if you’ve never read one?

Think about it. Think about your motivations. Why do you want to do what you do? Why do you want to do what you’ve made a resolution to do? What will discourage you or keep you from writing? And how will you get there?

This coming year, I encourage you to not only write, but improve our writing. Learn the craft of creating characters with clear motivations, and conflict, and learn how to write great dialogue, or plotting, or scene setting, or whatever craft element is your weakest skill. You will have to practice these things to improve them. It’s possible that this book you have in mind to write is just a practice book to help you learn craft. That is an okay motivation for writing a book too. You want to write a book so you can learn the process of writing a book, and become a better writer. It’s all good. But start writing it now.

Writer’s Block

November is National Novel Writing Month (NaNoWriMo), and given the number of people participating, and the number of complaints about low word counts or zero word counts, I thought we should chat about writer’s block.

What is writer’s block?

If you look on Wikipedia, writer’s block is a “condition.”

Writer’s block is a condition, primarily associated with writing, in which an author loses the ability to produce new work, or experiences a creative slowdown. The condition ranges in difficulty from coming up with original ideas to being unable to produce a work for years. Throughout history, writer’s block has been a documented problem.

Some people believe it’s an actual thing that happens to people.

For the sake of transparency, I’m in the camp that believes writer’s block is not an actual thing. It’s an excuse.

Let’s look at some of the problems and solutions for having writer’s block.

The Problem: I have been working diligently on my story for a month, and now, suddenly, nothing comes. I just stare at my computer screen.

The Real Problem: This writer doesn’t know where their story is going. They didn’t plan or outline their plot, and so doesn’t know what comes next or how to solve the problem they have written themselves into.

The Solution: Sit your butt in your chair and take an hour, or two, or day, or two, and outline your story so you know what has happened with your plot, where you are currently in your story, and figure out where you need to go to get to the end. Hint: Having an outline, no matter how brief, will help you stay on track. Then write it.

The Problem: I just don’t have any ideas of what to write about.

The Real Problem: This writer wants some kind of magical experience. They are waiting for the muse, and because the muse is on vacation, they don’t know what to write about.

The Solution: Sit your butt in your chair and just write about something. Practice writing. Write about your breakfast. Hint: Writing is five percent inspiration and ninety-five percent doing the consistent work of writing.

The Problem: Pick any excuse for not writing.

The Solution: Sit your butt in your chair and write. Hint: Remember Newton’s Law: objects in motion tend to stay in motion. In other words, it is easier to write consistently if you are dedicated to writing consistently.

Next time: TBD

Anatomy of a Scene

The Final Scene

We’ve been writing off and on (mostly on) about using scenes to write novels, and the kinds of scenes to think about, since (I had to look it up) July of 2016. It feels like we’ve been focused specifically on scenes for a long, long time. But this is it. This is the last installment. This is the Final Scene.

Your book is done, finished, -30-.

What is the final scene? It’s the end for your protagonist. Your character is probably not dead and doesn’t die in this scene, but this scene is the conclusion of every earlier scene in your book. It should be satisfying for your reader to get to this scene, read it, and close the book. But your ending should be memorable so your character can live on in your reader’s mind.

The final scene can also be a sort of rebirth for your character. But it should:

  • Show your reader where your character is after the climax
  • Allow your character to reflect on the plot
  • Bring your reader full-circle back to where your story started.

In this final scene, you will need to show your character as transformed. They should be a different person from who they were in your opening scene. Showing this transformation will help your reader to feel that the story was fulfilling. Note that there are occasions where the character doesn’t transform, but this transformation will apply to most protagonists.

The final scene should show the consequences of the main actions and decisions of your character. Let your character reflect on what they have learned, and how the world has changed. If your story was a mystery, the mystery has been solved. If your story was a thriller, the bad guy has been thwarted and the world saved. If your story was a romance, then you heroine will live happily ever after with the partner of her choice.

Make the final sentences in your final scene evoke the scent that wafted through your story. Leave your reader with a visual image of the book’s premise. If you book is a sequel, the final sentence could hint at the next adventure, but if it does that be careful that it isn’t a cliffhanger. The final scene is not about cliffhangers. It’s about resolution.

After you work on the perfect final scene, with a satisfying ending and visual image that’s it. You’re done. Write The End and put the book away in a file. In three months pull it out and read it. No edits. No tweaks. Just read it. Out loud. And be proud of yourself.

Next time: I don’t know yet. Shoot me a message at oosuzieq AT Gmail DOT com if there is a particular topic or series that you’d like me to write about.

 

Scene Writing

The Writer’s Bag of Tricks

Scene Writing

It’s been a while. We last discussed writing in scenes in April, which seems a very long time ago. So let’s refresh.

Writing in scenes is the idea that if you plot out your novel in scenes, and you focus on writing the best possible scene, one scene at a time, including all the necessary elements to ensure that your reader is grounded in your story world, learns something about your character(s), discovers something about your plot, and ends the scene still wanting to read your novel you will end up with a successful, well-written book.

And it will take you a lot less time than just writing by the seat of your pants without any kind of outline.

I have harped (It’s true. I do occasionally harp) that there should be some kind of conflict on every or nearly every page. Conflict and movement are what move your story forward. So today, let’s jump back into it with…

Action Scenes

What is an action scene?

An action scene is a scene that depends on some form of movement, physical movement, through the setting of that particular scene. The movement can be large or small, but there must be movement.

How do you make movement happen?

Tell the events that happen in your scene in real time, which will allow the reader to feel that they are participating in the events. Think of your favorite action movie. Think of the car chase. Things move. Things happen. And the viewer discovers all the action at the same time as the character.

Action scenes move with some intensity. The pace of the story is much faster than other parts of the book. Your character doesn’t have time to ruminate on the events as they occur. They just occur. If your character needs time to reflect, let this happen later when things have slowed down.

Your characters must be fast on the draw during action scenes. They act first. They think later. Decisions are fast. Reactions are faster. It’s about intuition and instinct.

You can open your action scene in the middle of the action, or in medias res, where events and movement are already in motion.

If the action will begin later in the scene, be sure to set up the action for your reader. Use foreshadowing by the spoon full to indicate the coming action. In other words, give your reader hints. The hints will entice further reading.

One thing to keep in mind in the action scene is that the action and movement of your character, while they are in the midst of intense action, will reveal their true nature. Is your character a coward? They will freeze when they shouldn’t. Are they a hero? They might put themselves in danger to save someone else. See what I mean? And all of their behavior will be action without words or thoughts on your character’s part.

At the end of your action scene, your character should be changed in some way. It could be a small change or a significant one. Your character will also have to deal with all the ramifications of the things that happened in the action scene. Think karma. The decisions your character made will come back later.

Cliffhangers are great at the end of action scenes since they keep your reader guessing. Keep your reading hanging so they have to turn the page.

You can also end the action scene with some form of discovery. Your character can learn some important information that changes something for the character, or the character’s motivation. Or they learn something about their rival, or enemy, or lover, or what have you.

Just remember that the purpose of the scene is to move the story forward, so the action scene should be there for a purpose. If it’s just action, but it doesn’t reveal anything about your character or they don’t learn anything, then it could end up being a gratuitous scene with no purpose.

Next time: More scene writing

Self-Pub, Indie-Pub, or Big 5? Part 5

We’ve been talking about the paths to publishing and what each path entails so that authors can make the best possible business decision. For the last few weeks, we talked about the need for every author to market their books regardless of their publishing choice.

I was asked, are there exceptions? Does everyone really market?

The truth is that there are exceptions. Below are some examples.

Example number one:

I have an author friend who has been writing novels for a particular romance publisher for a bazillion years. Okay, literally not a bazillion years but definitely somewhere in the vicinity of four decades. The publisher of these romance books has a loyal following of readers and so sales have always been good. Consequently, my author friend has never marketed a day in her life. She didn’t have to. She’s written four books per year and got reasonably good advances. Her advances, though have decreased over the years, as they have for most authors.

If my author friend wanted to continue to write four romance books a year for the next hundred years, she probably could do that and still never have to market her books. She has a good thing going.

But

What if she wanted to write something different? What if she wanted to write a mystery or romantic suspense?

Her romance publisher doesn’t do romantic suspense or mystery or any other genre so my author friend would have to start from scratch. She’d have to find a publisher, and make a website, and go through all the things that the majority of authors go through to market their books. It wouldn’t matter that she’s written close to 100 novels. She would have to find new readers, and that’s the rub.

This new writing project would in effect make her a new author. She would have to market.

Example number two:

I have another author friend who is a writing machine. She writes eight to ten (yes, 8 to 10) books per year. She has multiple publishers and she publishes multiple series with each publisher. She also does very well for herself.

This author friend also appears to be a marketing machine. She is on Facebook, and Twitter, and Tumblr, and Pinterest, and she does newspaper interviews, and Youtube videos and a ton of other marketing tasks. Not only does she post different information on each different social media platform, she does it several times per day. She engages her followers personally and interacts with them. Each of her followers probably feels that they have a personal relationship with this author, and the result of it is that she is able to create a big readership for her books, regardless of publisher.

But here’s the reality. This author friend loves writing. But she hates marketing. Luckily she is able to afford a full-time marketing assistant, and that is all they do.

Hiring someone to do your marketing if another exception. But I don’t know many authors who can afford to do that.

The important point I am trying to make with the everybody markets rule is that it is easier to plan to be an author who markets than it is to plan to be the exception, because you can’t really plan for that.

Remember that even James Patterson, who sells a gazillion books per year still does commercials for each book.

See?

Everybody markets.

Next time: Self-Pub, Indie-Pub, or Big 5? Part 6