Story Sensei

“As you know, Bob, your mother left you at the age of five to run off to California with the family lawyer, leaving you to be raised by your bohemian grandparents. Do think it’s affecting your judgment about this child abandonment case?” Be careful about dialogue that’s there just to inform the reader. Bob would know what his mother did, and wouldn’t need to be told or reminded. “You’re too close to this case, Bob.” “What do you mean?” He crossed his arms. She spoke with a hitch of hesitation in her voice. “You were the same age as this kid when your mom . . .” She didn’t have to say it. As a child, he’d prayed for an earthquake to swallow up both his mother and the ex-family lawyer in California. Maybe he was too close to this. Some things won’t seem like telling at first, but at closer look they might: She spoke with a hitch of hesitation in her voice. “You were the same age as this kid when your mom left you for the family lawyer.” (Does Bob need to be reminded whom she ran off with

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Keep practicing. Voice is developed by writing, writing, writing. Try doing a voice writing exercise each week. It only takes a few minutes, and that weekly stretching and warm-up will help your writing the rest of the week. And not just short exercises--use your manuscript as practice ground for unleashing your raw voice. Take a scene, or a page of your manuscript. Work some of the exercises with that piece of your writing. Not only will you be developing your voice, you’ll also be working on beefing up your manuscript. Don’t be discouraged if the exercises don’t seem to be showing dramatic results. Often a writer’s voice comes out subtly, in waves or glimpses. Some writers’ voices are loud, others are soft and more subtle. Don’t a

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Speak your voice through characters. Like a ventriloquist, you throw your voice into a story character so that it's you and yet not you speaking. More than anything, it should be the character's voice that dominates, but your own voice will add vibrancy to your character. Your heroine will have her own unique way of speaking, and it will also depend on her audience. She may speak one way to her mother and a different way to the hero. Through it all, don't be limited by her personality--rather, let her individuality unleash your own raw voice. Take a persona and notice if you speak directly in his voice--in his skin--or describe him as if you're in the room. Sometimes, this can indicate a preference for first person v

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Take a lesson from children's storytelling. When children tell stories, they improvise with things connected to their emotions, urgent and important to them at the moment. The duckie in their lap, the blue carpet, the stinky smell from the diaper bag, the lint under the table. It doesn't have to make sense, it doesn't have to be polished. What makes their stories compelling is that it's raw and free. Our writers' voices come out when we can emulate their storytelling mindset. This is related to what we say in public and private. There are certain things we will only say to our families, or sometimes just to ourselves. I'm not talking about foul language or unpleasant bodily functions. Opinions, one-line zinge

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Discover your natural rhythm. All of us have a natural cadence to our speech and thoughts. It's a combination of our genes and environments. For every writer, it's unique. Write nonsense words in grammatically correct sentences, or do free-writing--keep the pen moving even if you just write nonsense or the same sentence over and over. You'll discover things about your voice. Your sentence length, your word choice. Alliteration, metaphors, similes. Twists of phrase, dialect. Learn to be aware of these aspects of your voice's cadence.

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Write your voice with your whole body. An opera singer or a screaming child uses his entire body to project his voice. It's a comprehensive, total physical feat. A writer is the same. You want to use your entire being--your whole body--to bring out your writer's voice. This will mean different things to different writers. The important thing is to discover your own all-encompassing combination of rhythm, force, and music that is your voice. The key is all-encompassing--try to involve all of you, not just your mind. Try to imagine what it's like for you to write from your gut, from your toes, digging in with your shoulders, straining with your spine. Make it an energetic feat, requiring force and strength, pulling in aspe

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Unusual situations and a sense of urgency will bring out voice. External stimuli: Create a certain setting or mood by surrounding yourself with objects that will put you emotionally in different states. Try laying on your desk several things that make you mad. Or maybe things that make you sad. Be creative and utilize all five senses. Create different atmospheres that run the gamut of your emotions--don't hold back. Explore difficult emotions, intense emotions. Internal stimuli: Use your mind to put you in different places, at different times. A cold, lonely prison cell. A loud, crowded prison cell. An abandoned warehouse during WW2 with bombs exploding. A desolate cornfield during the Depression. What's important is to put

One vital way to make your writing stand out is voice. In many of the contest entries I've judged and manuscripts I've critiqued, writers have muted their natural voice to sound bland and generic. Writing that's alive with its own distinct vocal flavor is a joy to read. The prose is richer and more vibrant, the characters more three-dimensional--all because the writer opens herself to her own writing style and revels in it. However, voice can also be the most difficult and slippery aspect of writing craft to discover and perfect. Raw, creative voice often doesn't result in a polished piece. The key is to first lay down the story with your unhindered voice and polish later. But how to unleash your voice? Many times, a writer's internal critic is hampering the free reign of his unique style, but certain exercises can help him lift all restraints, open the cage door, and let the lion roar. Not all these exercises will work for every writer, but some might enable you to

Howard Books fiction editor Terry Whalin has started a "Writing Tip of the Day" where you can insert html code into your blog or website and have his writing tip automatically change each day. He has 31 tips now, and intends to write more later. Information is at this blog post . I've inserted it in my sidebar so you can see what it looks like. It's a terrific idea and Terry's background and expertise makes him an ideal person to write these tips for writers.

This is a page or two listing books similar to yours but different in some way. This is to show how your book would both fit in and stand out from the books already in print. Make sure the books you list aren’t too old. List recent titles over older ones. Show clearly how the books are similar, but also show clearly how yours differ. For example: Embryo Factory: The Stem Cell Wars by Rev. Richard A. Humphrey and Dr. Loren J. Humphrey, ACW Press, 2003. This Christian suspense dives deep into the complex moral and technical issues surrounding stem cell research, using a minister and a physician as protagonists. Bitter Dragon also deals with stem cell research, but takes the issue a step further into human cloning and fetal tissue harvesting for disease therapy, with a backdrop of action and adventure pushing the Asian heroine into danger.

Don’t list things like “willing to appear on Oprah”—well, duh. Plus so few authors actually make it on Oprah, period. Be specific about what you personally can do. What groups do you belong to, and what can you realistically do to use your connections to promote your book? For example: Do you work in a school and can you influence the librarian or other schools’ libraries to carry your book? Do you belong to any national organizations and can you give workshops on your book topic at your local chapter? Do you have an active blog or website and can you utilize that to spread the word on the internet?

If you don't have many writing credits, don't point it out. If you have a lot, point only to the relevant ones. If you wrote an article on abuse in Woman's World and an article on stretching in Runner's World , include the Woman's World but not the Runner's World . If you belong to a national writers organization like RWA, ACFW, SFWA, MWA, then include it. Also include if you’ve ever worked in a publishing house or for a magazine. Don't ramble on for paragraphs and pages about your family and experiences—keep it to only those things that are pertinent for your story. If the main plot of your story is about hang-gliding and you've done that several times, then include it. But if your story is about the stock market, then don't include the hang-gliding experience. Your social connections can also have pertinence. If your story is set in medieval Scotland and you belong to a local Scottish Heritage group, then mention that. However, if the main plot o

This is a great website uncovering various agent scams and unscrupulous practices among agents. http://www.sfwa.org/beware/ There's also a highly informative blog. http://www.accrispin.blogspot.com/

Quick tip for how to write a synopsis Another quick tip for how to write a synopsis

This is basically the same as the story blurb you included in your query letter. Your story blurb will either hook the editor or not. Here are some pointers. 1) Try to write it in the tone or voice of the novel. If your manuscript is a romantic comedy, make the blurb sound fun and flirty. If your novel is a dark thriller, make the blurb sound sinister and exciting. 2) It should name the main protagonists. The villain can also be named if he/she is a major protagonist. 3) The main protagonists' external goals should be clear. 4) There should be some hint of the major obstacle(s) in the protagonists' way. 5) A nice touch is to add a little info on the main protagonists' internal or spiritual conflicts. 6) Unlike a synopsis, you do not need to give away the ending, but you may if you prefer. Example: Risa Takayama would rather eat rotten tofu than listen to her aunts’ tweaking her about her weight and lack of a Significant Other. She’s the Elephant Man next to her Barbie-doll

Not all proposals are set up the same way, but here’s a bare-bones structure of a typical one. --(optional) Story blurb. Just a paragraph—two to four sentences—about the story. Similar to back cover copy. --Synopsis. Should be about one to two pages long. DO reveal the ending. This is the entire story laid out. See “Synopsis” on the right sidebar to see my other articles on synopsis writing. --Bio. Your writing credits, any experience in the writing or publishing industry, and any social connections or life experiences that have any relevance to the story. --Hook. What makes this story unique? How is this story different from any other book that’s sitting on the shelves at Barnes and Noble? What kind of spiritual, emotional, or personal message will a reader glean from it? --Category/genre. Make it easy for the editor/agent to know what the major genre is. --Length of manuscript. Round to the closest 100 or 1000 words. --(optional) Alternate titles. Expect your publisher to change your

Psychology for Screenwriters by William Indick From the back cover: To make their stories come alive, screenwriters must understand human behavior. Using this book, writers can make Sigmund Freud, Carl Jung, Alfred Adler, Erik Erikson, and Joseph Campbell their writing partners. Psychology for Screenwriters helps scribes craft psychologically resonant characters and conflict. You’ll learn to create convincing motivation, believable identity and development, and archetypes that produce authentic screen moments. Camy here: It might be because I majored in Psychology in college, but I thought this book was one of the more fascinating writing books I’ve read this year. This book was most useful to me to explain the concept of archetypes and dramatic situations—why there only seem to be a limited number of them that are used often in drama and novels, why they’re important, the psychological theories behind them that explain their power over an audience or a reader. As writers, we’ve read

One thing I see often in the entries I judge in contests is long passages of dialogue. And why not? Jane Austen got away with it. Historical romance writers—even the current best-selling ones—have long paragraphs of one person talking. Granted, historical novels have a completely different atmosphere that’s more conducive to long stints of dialogue, but let’s face it, folks—do YOUR friends like to hear you talk for that long without stopping? Believable dialogue in contemporary fiction, especially, needs shorter passages and more back-and-forth between characters. One person says a sentence or two, the other person responds to what they said. Historical fiction can have slightly longer passages, but big ole’ long honkin’ paragraphs might lose your reader’s attention. Shorter passages of dialogue also serve to pick up the reading pace. Long passages of dialogue can become ponderous to the reader and stall the story flow. Here’s an exercise that takes this to the extreme, but can help yo

I probably should have run this post when I started my short series on cutting a synopsis. (Click on "Synopsis" on the sidebar to see all my synopsis posts.) While I haven’t talked to every editor and agent on the planet, the majority of the ones I’ve spoken to prefer a 2-3 page synopsis. However, every editor is different. One editor will want a one-page synopsis, another will want an extensive chapter-by-chapter synopsis. In my experience, it’s usually better to opt for the shorter synopsis when submitting a proposal. If they want a longer one, they usually specifically mention that they do. Another reason to have a short synopsis handy: Writing contests often have you submit a short, 1-2 page synopsis with your entry. Here’s a little tip: when querying a novel, it doesn’t hurt to slip a one-page synopsis in with your one-page query letter. And it doesn’t cost any more in postage. Also, when submitting a partial manuscript or a proposal (only at the editor’s request, of cou

If you don’t have a chance to go to a conference and meet the agent face-to-face, or if the agent doesn’t attend the conference(s) you go to, then ask other writers about their agents. If you belong to an online writers group, ask them to e-mail you privately about their agents. Ask about communication styles and work ethics. Ask them about their relationships, how the agent works, etc. Also, tell them you’ll keep all their information completely confidential. Another good idea is something a published author did (I want to say Rene Gutteridge did this, but I’m not positive)—she contacted several editors and asked them to give her the top three agents they enjoy working with. That way the editors aren’t put on the spot about any particular agent.