Writing Tip: Going MAD

After I wrote the title, I thought that readers could interpret it in many ways. As a writer, there have been many times I thought I would go mad before I would finish a writing project. Maybe you have thought the same thing, or are going through it right now.

But, in this sense, "Going MAD" means something entirely different. And, hopefully something that will help you jumpstart that writing project you've been putting off because of the plethora of things that must be done first.

This method of "Going MAD" is taken from the book, Your Writing Coach by Jurgen Wolfe. It's been a great help with other tips I've used to help you with your writing.

MAD = Massive Action Day

Some days you may feel that you are making little or no progress at all on your writing projects. Using the MAD technique can help.

Going MAD gives you permission to devote yourself to taking massive action toward a writing goal in order to jump-start or restart your progress.

Jurgen Wolfe outlines the ways to prepare for and conduct a MAD:

Focus on one goal at a time. What Wolfe means is to make major progress toward one specific writing goal. If you have lots of goals that might benefit from the MAD technique, schedule them as separate events.

Put the day into your schedule well in advance. Treat this MAD as you would any other extremely important appointment. - not as something that can be forgotten or set aside if something else comes up. Wolfe has also come up with the MAHD technique. Massive Action Half Day. This is for those who feel that assigning a whole day will be too difficult.

Be sure you have all the necessary materials, tools, and supplies ready at the beginning of the day. This is not the time to start wandering around looking for whatever you need to complete your writing project. Make sure you have it before the day arrives.

Insulate yourself from interruptions. This is extremely important, especially in a social media world. Don't take any calls. Don't check your e-mail, tweets, or pins. Explain your plan to anybody who might interrupt you and put a "do not disturb" sign on your door your near your desk to remind them. For some people, avoiding interruptions might work if you went to a totally different location.

At the beginning of the day, note down everything you plan to accomplish. Then prioritize the tasks and put them in the order in which you need to do them. It's a good strategy to break your tasks by time and make sure to add breaks so you can get up and stretch. Have some healthy snacks available and drink plenty of water.

When the time you've set for yourself to quit arrives, stop. Take a few minutes to look back at the plan you set out and see how much you achieved. There were obstacles, consider how you can prevent or overcome them on your next MAD. Recognize whether you underestimated or overestimated the amount of writing you could achieve, and take that into account next time.

Reward yourself for what you've accomplished. Take some time to do something enjoyable that you haven't done for a while -- see a movie, visit the spa, listen to a new CD, or whatever works for you.

Consider whether another MAD session would be useful, and, if so, pick a date and make the appointment.

IMPORTANT: Don't overdo this MAD technique. Don't schedule more than one MAD a week, otherwise they impact will be diluted.

You should notice a new energy in general after your MAD session. You'll find that it speeds up your progress and you might notice that you're enjoying writing again.

Writing will feel less like a struggle and more like all writers like to be --"in the flow" experience.

So, when are you scheduling your first MAD?

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Writing Tips - Theme

The ultimate question to every story is "Why?"

What's the point?

Why are you telling this story?

Why?

You have an idea for your story. You want to write. But, you must first ask yourself why do you want to write this particular story? How do you control all of the ideas you have floating in your head? How do you capture all the right ideas and create something awesome?

What are your motives? Honesty is important here. Your answer will help you decide how to develop the pattern of thought in your work, which is theme.

Does the word theme make you nervous? Does it recall bad memories in English class about having to write a five hundred word theme on how you spent your summer vacation?

Just to clear things up, when we mention theme in this article, it has nothing to do with high school themes.

Okay?

Theme: the central concern around which a story is structured. It is your inertial guidance system. It directs your decisions about which path to take, which choice is right for the story and which choice isn't.

There are several patterns of theme that you can apply to your story.

1. Plot as Theme

Everyone likes a good action film, right? Okay, well most of us do. That's how Plot becomes a theme. It's all about the escape into a good chase. The reader can sink into the story and become one with the protagonist as he/she follows the clues. In these kinds of books, everything, including character, are secondary to all of the fun action and plot. Books similar in style: think anything James Bond-ish.

2. Effect as Theme

The main focus of the pattern changes from events to emotional effect. There are various kinds of emotional effect: terror, suspense, love and romance, or comedy.

If you choose effect as your story's theme, concentrate on it and study the masters. Stephen King, John Carpenter, Robert Ludlum, Robin Cook, Alfred Hitchcock, any Harlequin romance writer, or Woody Allen.

It's important to understand the expectations of your reader before you write your story.

3. Style as Theme

Here we are looking at the author's style. It's the expression of style; an elevated artistic technique. In actuality, this is a very limited market.

4. Character as Theme

To define theme as character, your story must concentrate on a person (or persons) so that they are the center of plot and action. Similar books in this area: David Copperfield, Anna Karenia, The Adventures of Huckleberry Finn.

5. Idea as Theme

No other theme makes us think as much as the "idea" theme. These stories affect us in such a way that we take a bit of it with us when we are finished. Very famous books like Robinson Crusoe and Don Quixote are great examples of a theme plot based on ideas.

Ideas can come from a number of different forms. Here are the major categories into which most Ideas as Themes fall:

• The moral statement: a work that attempts to persuade the reader to accept a certain moral principle
• Human dignity: a character's fight for dignity and the right to be who he/she was in the face of a system that set to out to destroy him/her.
• Social comment: writers may sometimes be tempted to preach when it comes to writing about the ills of society. Remember: show, don't tell. If you feel the urge to make a social comment in fiction do so from the character's point of view. Argue from your character's convictions, not your own. 
• Human nature: the main character or characters of the story represent universal human types. These characters and their crises, reach beyond the page because they represent our view of civilization, of humankind in general.
• Human relations: the author is concerned with understanding who we are as people and examining the difficulties people have when it comes to getting along with one another, especially complex, intimate relationships such as love, marriage, and family.
• Innocence to experience: "coming of age" stories or "loss of innocence" stories.

If you decide on a theme for your story, you'll have kind of a roadmap to follow. Let it guide you. Write with your heart and the theme will follow.

Resource: The Writer's Digest Handbook of Novel Writing

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Writing Tips - Quest for the Quintessential Query Letter

The Query Letter -- the elusive quarry. We know near perfect ones exist. Editors expound those that come across their desk. Writers rave about their flawless recipe of words that caught an editor’s interest. 

Everywhere you go in the writing world, someone offers you tips or advice to create a query letter. Ever since I realized I could sell my writing, I’ve been on a quest, searching for the perfect formula to create the quintessential query letter.

What I’ve discovered is that if you go to any resource website or read any writing resource book, you’re guaranteed to find at least one, probably more, articles about query letters. It’s overwhelming to say the least.

Did you ever wonder why there are so many articles? Because there isn’t just one perfect format. Nope. You can stop searching for the magic formula. It doesn’t exist.

However, even though I’ve discovered that there is no ONE perfect query letter, there are specific qualities of the query letter that can come close to perfection. We all know that for as many editors there are in the publishing world, you’ll find that many types of query letters. Each one was created to catch an editor’s eye. What did it?

What I’ve found in common with every article written about query letters is the basic structure. It doesn’t matter whether you are pitching an idea for an article, short story, novel, or non-fiction book, the structure of the query letter is still the same.

For simplicity’s sake, we’ll break down the query letter into its essential parts. Some of them may look as if they are over simplified and obvious, but you’d be surprised at how often they are forgotten in the rush and excitement of production.

Overall Look

Start with a professional look to your letter. Use stationery imprinted with your name and address. Now, this doesn’t mean spending a load of money for printed stationery. Just make sure your letterhead format is professional.

Make use of your word processing software to give your letter a little touch of class. You’d be amazed at what a header and footer line can do.

IMPORTANT: Study the publisher’s guidelines. Follow them to the letter. No exceptions! Don’t waste the editor’s time if your book, article, or short story doesn’t meet the publisher’s needs.

TIP: Use the publisher’s guidelines to adjust any nuances in your query letter. Don’t get stuck in a generic format that can’t be adjusted for each editor. They can pick out a standard format at twenty paces. Make that editor feel as if you’re writing this letter just for them.

Address and Salutations

Always address your letter to a real person rather than a generic department title. Reading “Dear Acquisitions Editor” is akin to reading “Dear Occupant.” Don’t do it. Use the correct address and don’t forget suite numbers.

TIP: Make sure you have the correct spelling and gender titles.

What’s the best source for getting the correct name and spelling? The publishing company or magazine you want to send your query letter. Call and ask the person who answers the phone. It’s that simple. Use the Writer’s Market to get addresses and telephone numbers. Look in the magazine for the credits section. You’ll find names and numbers there.

IMPORTANT: Now is not the time to be shy.

Don’t make the mistake of addressing your letter to an editor who no longer works at the company or use the wrong title. No one likes to be addressed as a Mister if she is a Miss or vice versa.

First Paragraph

Make sure you know where your book, article, or short story fits in the publishing world. This means you must know the tone, length, story line, and market. If you are expecting the editor to figure this information out for you, don’t hold your breath. That’s your job.

Your first paragraph should describe your book, article, or short story, the tone, word length, and where it fits in the market. Make sure you use a title when describing your work, even if it isn’t the exact title you want. Preface the title with the word “working.”

TIP: If someone has referred you to the publisher, don’t forget to mention that important fact in your opening sentence. If you met the editor at a conference and he/she asked you to submit, mention that also.

Second Paragraph

Use the second paragraph of your query letter to hook the editor. This is where you tell the editor about your book, article, or short story.

Be sensitive to the editor’s needs and time. Now is not the time to spend pages explaining your idea in excruciating detail. Be succinct and brief.

IMPORTANT: Practice putting the basic premise of your book, article, or story into twenty-five words or less.

If you can’t explain the gist of your book, article, or short story in twenty-five words or less, you may not have a good grasp of what you want to write about. If you can’t explain it, how can you expect an editor to understand it?

Third Paragraph

The third paragraph should describe you, your writing experience, and any publishing history.

TIP: Don’t forget to mention any relevant information such as memberships, career, or other expertise you have to help you write your article, book, or short story.

Final Paragraph and Signature

Always end your letter by asking the editor if you can send him/her your entire article, manuscript, or outline in the case of a non-fiction book.

Don’t forget to thank the editor for taking the time to read your query and let the editor know that you look forward to hearing from him/her at their earliest convenience.

SASE

Don’t ever, ever forget to include a self-addressed stamped envelope. Use a postage stamp rather than a metered stamp. The editor many not get to your query for up to a month or more. The metered stamp may have expired by then.

IMPORTANT: Make it easy and convenient for the editor to respond to you!

Clips

Some editors ask to see “proof” of previous publishing experience. Others don’t. Read the guidelines carefully so that you know if you should include them or not.

TIP: Make sure they are clean copies (either a tear sheet from the magazine or printed from the internet.) Don’t ever include them in the body of your query letter.

Secret Ingredient

So, what makes the query letter perfect to an editor? You. Only you can add that one special ingredient that will make or break your query letter. Your unique voice. That’s what the editors are looking for.

Of course, good grammar and spelling help too! But, most of all, you must leap from the page or screen and grab the editor’s attention. It’s your first chance to make the editor notice you. You know the old saying, “First impressions count.” Make this one count the most!. Don’t blow it.

IMPORTANT: However, don’t get so caught up in the structure that your personal writing voice doesn’t shine through your query letter. Be unique.

Be yourself and let your writing speak to the editor. That’s what counts.

Writing Tips - Overcoming the Fear of Writing a Synopsis

If you noticed, I didn’t title this article “Overcoming YOUR Fear of Writing a Synopsis.” I don’t think you own the fear anymore than I do or any other writer. We all share a common emotion, one that can be summed up in one word: Formidable.

What is it about this particular piece of writing that brings out more moans and groans from writers than a roomful of sixth graders getting a surprise math test?

What is a Synopsis?

Look at the word. Synopsis. Say it with me. “Sin-op-sissss.” Even the sound of the word emanates dread.

What is a synopsis? Webster’s defines it as “a shortened statement or outline, as of a narrative. Abstract.”

Nothing sounds particularly evil in that definition. Let’s look at it a little closer – “shortened statement or outline.” Hey, look at that. “outline.” Now there is a little word we’re all familiar with. Does “outline” make you cringe as much as “synopsis?” What about “shortened statement?” Not me. Probably not you, either.

Start with a Simple Sentence

Let’s start with the shortened statement. I’ll use the popular children’s story, Lady and the Tramp to help demonstrate my points.

What is our story about?

“Lady and the Tramp is a story about dogs.”

True, but the portrayal is dry and uninteresting. Would you want to just read a story about dogs? What makes this dog story different? Let’s see if we can add some more information to better describe the story.

“Lady and the Tramp is about two dogs from different sides of the track.”

Good. Now we know that there are two main characters. And, we know that these two characters are different in some way. Let’s see if we can do a little bit better.

“Lady and the Tramp tells the adventures of an upper-class, well bred cocker spaniel and a roguish mutt from the wrong side of the tracks.”

Okay. Now we have some description and a hint at a story. We know that these two distinctly different characters are going to have at least one adventure.

Describe Your Story in 25 Words or Less

So, now we need to think about our audience. The synopsis generally goes to an editor, agent, or publisher. So, we must capture their attention. Give them something to grab onto and not let go. This is where you can really get creative and meet the “describe your story in 25 words or less” challenge.

“Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks.”

Whew! There it is – 25 words – exactly. We’ve just written a strong hook for the opening of our synopsis.

Every synopsis should start out with a statement that describes your story in approximately 25 words. However, don’t be a stickler about trying to hit the “magic” number. There isn’t really a magic number. But, keeping your description to approximately 25 words helps to focus your writing on the key elements of your story.

Key Elements – Not That Difficult to Identify

Speaking of key elements, those are what we now need to identify so that we can create our synopsis.

Wait, wait. Stop groaning. I promise we’ll go slowly. Okay?

I think I’ve read every article and book written on creating a synopsis and even though every writer has their own formula for creating the “perfect synopsis,” I admit that authors agree on one thing – You need to practice. So, my suggestion is that you do what I’ve done here. You find some simple stories and practice creating the synopsis for them. Once you’re able to pick out the key elements easily, you’re ready to create a synopsis for your own story.

So, back to our story, Lady and the Tramp.

First Element - Structure

The basic structure of the synopsis should be a complete summary of your story from beginning to end, written in present tense. Simple, right? So far. Let’s see how that helps us with our story.

“Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks.

Lady’s owners love her but ignore her when their baby arrives. The owners leave her with a cat-loving aunt who locks Lady out of the house.

Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners.

Lady is caught by the dog catcher and spends time in the pound learning some of Tramp’s secrets. Hurt and jealous, Lady is returned home and exiled to the doghouse once again.

Lady discovers a rat making its way into the house and is helpless to defend her home. Tramp helps her by getting into the house and killing the rat. However, he’s accused of attacking the baby and is placed in the dog catcher’s wagon to be taken to the pound.

Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat.”

More Key Elements – Setting, Main Characters, Conflict

Not bad for a first draft. We’re missing a few items that would make the story more dramatic and compelling for the editor, but those can be added easily. First, we should make sure that we’ve established the setting for the story and identified our main characters.

We’ll have to identify real conflict between these characters and their motivations. Then, we’ll have to show the resolution of the conflict. It isn’t as important to name every character in the synopsis, but you must name your main characters.

Final Key Elements – Tell Your Ending

Finally, we must make sure that we’ve wrapped up our story and told our ending. Yes, that’s what I said, we tell our ending in the synopsis. You must never, ever tease editors and leave them guessing about the ending of story.

As a side note for romance writers: If your story is a romance, make sure you always establish the love relationship between the two main characters by showing how they met and why they’re fighting against their attraction.

 With that advice, let’s see how our synopsis shapes up after adding these key elements.

“Lady and the Tramp is an early twentieth century story filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks in New England.

Lady’s owners lavish attention on her until a new baby arrives that takes all their attention. Ignoring Lady’s needs, they go away on a trip leaving her and the baby with a callous aunt and her two Siamese cats that wreak havoc. Lady, wrongly accused of the mischievous cats’ pranks, ends up in the backyard doghouse and eventually fitted for a muzzle.

Fearful, Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners. He treats her to a night on the town, complete with a romantic Italian dinner from his favorite restaurant.

Unfortunately, even though he protects Lady from a vicious dog attack, Tramp can’t protect her from the dog catcher. Lady spends time in the pound learning some of Tramp’s secrets from his other wayward, albeit, intimate acquaintances. Hurt and jealous, Lady returns home and is once again exiled to the doghouse.

Lady’s other neighborhood dog-friends advice her to forget this scoundrel and chivalrously offer to take care of her.

Tramp returns, hoping to change Lady’s mind about him. She rejects his advances and sends him on his way.

Moments later she’s alarmed that an ugly rat enters the house, but can’t do anything about it because she’s chained. Tramp comes to the rescue by finding a way into the house and killing the rat before it can harm the baby.

However, the heartless aunt accuses Tramp of attacking the baby and calls the dog catcher who places him in the wagon to be taken to the pound.

Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat. Lady’s friends run to stop the dog catcher’s wagon and everyone is reunited after a thrilling chase scene.

When the commotion settles, Tramp chooses the family life and abandons his drifting ways to stay with Lady and her owners.”

And, there you have it. Your synopsis. Was that so painful?

This synopsis is rather short when compared to the longer books you desire to write. Don’t let that intimidate you. The concept is still the same.

Final Advice

Editors have specific requirements when it comes to the length of your synopsis. Unfortunately, just like snowflakes, no two editors are the same. One editor requires a ten-page synopsis while another may only want two pages.

My advice to you is that you follow the requirements of the editor and make sure you include enough information in your synopsis to tell your story but not so much to slow it down. Focus on the story’s development from beginning to end and make sure you emphasize the resolution of the conflict and/or romance.

If you’re having trouble writing your synopsis, don’t beat yourself up about it. Go back to your story. Have you developed the plot completely? Do you understand your characters and their motivation? Is your conflict believable and resolvable? If you can’t answer those questions, the problem isn’t with your synopsis. If you don’t understand your story how do you expect an editor to?

Good luck and remember to practice, practice, practice.

Lady and the Tramp is owned by © Disney Enterprises, Inc. All rights reserved.

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Writing Tips - Asking Why

The one question you can't ask enough while you are writing is "Why?"

Check with any child under the age of five and you'll see that their favorite word is "Why?"

Why?

Curiosity.

A thirst for knowledge.

As a writer, you are going to use this question as a tool to help you create your characters and structure your plot.

So, let's start with the first use of "Why?"


Why do you want to write this story?

• What is it about this particular story that encourages you to write it? 
• Why do you think other people will want to read it?
• What is it about the characters that motivates you to tell their story?

Why do you want to write about character X?

• What makes your character fascinating?
• What does your character have to gain? 
• What does your character have to lose?
• Why does the character act the way they do?

With each answer, ask another question to further define your character. Go deep. Dig down until you know your character intimately.

Let's move on to the plot of the story.

Why did you structure your plot with this kind of beginning and end?

When you identify key plot developments, work backward using "Why?" to generate more action to drive the story.

There is no "right" answer to each "Why?" question, but if you keep drilling deeper, you'll be able to explore several possible lines of questions and answers. What you're looking for is an answer that suits the tone of your story and if possible, surprises your readers and still remains plausible.

Working forward in your story, ask "What could happen next?"

You'll come up with a number of answers. Jot them all down. Don't just work with the first answer. Figure out how each would fit in the story line, whether or not the plot point works, and if it can be strong enough to last.

Asking these questions gives you a good start to coming up with vivid, interesting characters and intriguing and logical plots.

So, let's go ask some questions and write an exciting story!

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Writing Tips - Conflict Makes Your Story

Which would you rather read: a novel with a story about a man and woman who meet, fall in love, get married, and live happily ever after or a story about a man who meets a woman, falls in love, only to lose her to a gang of terrorists demanding a large ransom or they will kill her?

A good story needs conflict. A conflict is the characters struggling to overcome a problem. There is two kinds of conflict: internal and external. External conflict can be a struggle of character against character, or a character against circumstances or events. Internal conflict can be a character's struggle with himself in some way. Just remember, a story without any struggle is no story at all. 

Conflict creates an immediacy or urgency in your story. Action pulls readers into your story. 

What do you need to do to create conflict?

Straightforward Narrative

This creates a visual image of the character in the reader's imagination. When you put your character to the test, forcing him to make a decision and act, only then does this breathe life into your character. 

James Frey writes, "A character's response to obstacles, barriers, and conflict individualize him, proves his characterization, and makes him real and distinct in the reader's mind."

With no conflict, your characters become flat, dull, and lifeless. Two characters just talking to each other is not dialogue. It doesn't show a conflict or struggle between the characters. 

It's important to keep the reader interested. A story must involve struggle. How a character reacts to struggle shows the reader who the character is. Readers identify with the character. So, it's character which keeps the reader interested. 

Insistence vs. Resistance

Conflict between characters always takes the form of insistence versus resistance. Conflict occurs when characters have different goals and insist on reaching them. 

Equal Sides of Conflict
In order to have good, believable conflict, the sides must be evenly matched. No one wants to see Batman beat up on a helpless homeless person. And, would the Hulk look even more menacing if he punched a Prius rather than a huge semi truck? No, and that's why you should make sure that your heroes in your story have equally matched competition to keep them on their toes.

In How to Write a Play (1983), Raymond Hull explains opposition in terms of a formula:

"M + G + O = C. Main Character + His Goal + Opposition = Conflict"

According to James Frey, "Good opposition requires that the antagonist counter each of the protagonist's attempts to solve his problems with as much force and cunning as the protagonist exhibits."

When creating conflict in your story, your opposition doesn't necessarily have to be a villain. The antagonist can be a hero as well. In order to have good opposition, you must make sure your characters are well-motivated, rounded, non-stereotyped characters.

In creating your opposition, ensure they have points of view that are logical and reasonable. The reader can understand and even sympathize with these characters. As Raymond Hull put it, "The strength of the conflict is not just a product of the protagonist's strength" but is a product of the "strength of the opposition."

Keeping Your Characters in the Furnace
Think of it this way: the furnace holds the characters together as things heat up. It's a bond that keeps them in conflict with one another.

The conflict must be strong enough to motivate the character to continue rather than run away. When you create your characters, think of them as bonded together. Strong enough to continue their fight to resolve their problems to the final resolution.

Without the furnace to contain your characters, there can be no conflict. Without conflict, there is no drama. In short, there is no story.

Necessary Inner Conflict
Your character needs to suffer inner conflict like those of real people. Guilt, fears, misgivings, doubts, second thoughts, and such are all examples of inner conflict. Using inner conflicts makes your character more interesting and memorable to the reader. The reader can empathize with your character; creating a connection with your character.

As James Frey puts it, "Inner conflict confirms that the characters are involved, that something is at risk for them."

In order to have inner conflict, the opposing forces don't need to be great or out of this world. They only need to be great in your character's mind.

Impaling Your Character on the Horns of a Dilemma
When you do this, you've put your character in a position where they must have or must do something - for a very powerful reason - yet they can't have or can't do something for equally powerful reasons. These powerful forces pull your character into two different directions.

Dramatic Patterns of Conflict
Struggle in a conflict is action. Action has various dramatic patterns within the story. For instance, conflict which fails to rise is called "static" while conflict that rises too quickly is called "jumping." Another term is "slowly rising conflict" which is what you, the storyteller wants.

So, how do you figure out if your conflict is one other other?

Static Conflict
Any kind of dramatic conflict that is unchanging. With static conflict, your characters stop developing.

Jumping Conflict
Conflict leaps from one level of intensity to another without adequate motivation or transitional stages. Characters are tender one moment and raging with anger the next.

Slowly Rising Conflict
Conflicts rise slowly. Conflict proves character. Using this method, you show more character's development by how they react to different stages of conflict. You can put your character through various emotional stages.



I've given you a lot of information about creating conflict and what it means in your story. Writing a great story requires you, the writer, to keep the reader reading. To do so, that means using slowly rising conflict.

How do you do this?

Plan your novel with slowly rising conflict in the forefront of your mind. Your characters must meet ever increasing obstacles; their problems multiplying; pressures growing.

Remember, when your conflict rises, your character shows development. The character changes.

The best way to make sure you have rising conflict is to look at your character's emotional level. Look at the beginning of the scene and the end of the scene. Your character's development should be visible. A change should occur in their emotional level from hateful to loving, or spiteful to compassionate. However, make sure this change is done a little at a time. This ensure the conflict is rising slowly.

You can take what you've learned here and apply it to your writing.

Happy Writing!

Image credit: iqoncept / 123RF Stock Photo

Resources: Wring to Sell by Scott Meredith, The Writer's Digest Handbook of Novel Writing, How to Write a Damn Good Novel by James N. Frey 

Writing Tips - How to Set Your Story

The definition of setting is "a backdrop against which your characters perform."

When writing your story, you must make sure there is a sense of place. It's essential. Setting denotes time, establishes mood and provides atmosphere.

As a writer you must make sure that your setting isn't simply paragraphs of description. Interweave with your characters and their actions.

Helen Haukeness writes in "Setting Your Novel Straight" that many writers who can write well about plot and character overlook the significance of setting.

She has identified eight problems that you, as a writer, may encounter and the solutions.

Let's begin.

1. Failure to Understand the Depth of a Setting.
Setting is more than buildings and roads, trees and flowers, or mountains and valleys. Setting means detail. Remember this word: specificity. When creating setting, involve all the senses: furniture, weather, people, tools, toys, clutter, lighting, odors.

As a writer, you want to elicit a response from your reader. You do this by creating a reality for them with your writing that is plausible.

2. Using Stereotyped Descriptions.
Create a sense of place with your writing. Either write what you know using environments you are familiar with, or do the research necessary to become familiar with unfamiliar settings. Ms. Haukeness suggests that writers keep a notebook of rile folder of brief descriptions, observations, and evocative images. Listen and observe wherever you are in order to absorb your environment through your various  senses.

3. Failure to Use Words as Symbols of Atmosphere and Mood.
Infuse life into your words when describing setting. Create an atmosphere that bursts into your reader's imagination with wondrous colors. Detail is important, but don't overwork your reader when they read your narrative. A smart reader will know when you're writing is overdone and no longer involves them in the story.

4. Failure to Evoke All the Senses in Descriptions of Setting.
When you think of setting, it brings to mind a picture. However, the visual image is only part of what you have to use to create a sense of place. Use all the senses available: sounds, smells, references to taste. Make the reader actually live your story instead of being an innocent bystander. Once again, let me remind you to not overdo it. Let your words build your background in your reader's mind.

5. Failure to Write Scenes Through the Character's Eyes.
You are not a character in your story. You are not the main focus. Let your reader experience your story and setting through your character's perception.

6. Failure to Change Setting Throughout an Entire Novel.
Your character doesn't stay the same throughout your story. Your character evolves, changes, and has moods. As a writer, you must make sure that your setting does the same thing. As emotions conflict in your character, so must your setting contrast. If your character is indoors, take them outside. If your character is in the woods on a rainy day show the colors, scents, surroundings to your reader.

7. Using Fictionalized Geographic Names That Don't Sound Authentic.
Be creative when using the names of cities, towns, places, and such in your story. Use your imagination or if you'd like, mix and match names of cities and states.

8. Isolating Descriptions From the Narrative Line.
If you write a lot of narrative in your story, more than likely, the reader is going to skip over it to get to the action - The dialogue of your characters. Don't end up using all your narrative to set your scene. According to Ms. Haukeness, "let the background of your novel come to life through your characters' thoughts, dialogue, and actions."

Did you learn something new about how to set your novel? Did you learn what not to do?

Great!

Resource Used: The Writer's Digest Handbook of Novel Writing

Writing Tips - Character Motivation

How well do you know the character you are writing? Do you understand his/her wants, needs, desires, motivation? Have you delved into his/her background and found out all the secrets, the sorrows, and the loves found and lost? What makes your character do what they do? What stops them from doing something?

Do you understand your character's motivation?

Can you take an event from real life and put it in your story? What makes people believe a real life event but not when they are reading it?

I'll tell you. Because, in real life, people see the event happening. They accept it as a part of life. However, if you drop a "real life" event into your story, the reader will not accept the event because they didn't see it coming. The reader doesn't believe your character is capable of the actions you make them take.

Why?

Character Motivation.

You must build your character throughout your story. This gives your reader the ability to understand and empathize with your character. The reader gets to know your character and understands your character.

In order for the reader to understand your character, you must. If you don't know why your character acts like they do, how will you convince your reader to finish reading your book?

"In order to give your characters adequate and believable motivation for everything they do, therefore, you must give them the most typical and logical motivation - the thing most people would do under those circumstances." says Scott Meredith in his book, Writing to Sell.

Sott Meredith goes on to write, "It is only when the character's motives and actions are different from the norm - when he does something for an inadequate reason, or when he does exactly the opposite of what a normal person in that position might be expected to do - that it is disbelieved."

What happens when a person acts like they do in real life is acceptable. Make sure your character's actions are acceptable as well.

The only way to do that is to develop your character throughout your story and make their actions believable to the reader.

If your character is the hero of the story, then build your story around how brave your character is. If, three-quarters of the way through your story, you suddenly show that your hero acts in a timid way and doesn't rescue the girl, or punch the bad guy, then you've given your reader a reason to not believe in your character anymore and they will probably end up closing your book in disgust.

But, if you've developed your hero and shown the character's background as having a moment in their life that identifies why the hero didn't rescue the girl, then your more likely to keep the reader reading.

For example. Your hero wants to rescue the girl, but she's surrounded by snakes. And, in your hero's past he experienced a frightening time when he was trapped in a well as a child and the well was filled with snakes. You show in your story that the hero must fight with his internal conflict of being afraid of snakes and his external conflict of needing to save the girl. When you do so, the actions of the hero then become believable.

"Your motivation, in short, will be sound only if the character always acts typically - always acts like the kind of person you have shown him to be." writes Scott Meredith in Writing to Sell.

Now, let's take your snake-fearing hero. He sees how the girl is disgusted at his cowardice and so he's forced to be heroic. He overcomes his fear of snakes, rescues the girl, and they live happily ever after.

You've made your character act "drastically" different in a way that shows a change in character the reader can believe. You've given your character a way to reasonably manage his conflicts and change his character motivation.

In doing so, you've written a book with characters the reader can relate, believe in, and grow to love.

So, I will ask you again:

How well do you know your character?