Story Sensei

Tina asks me about my writing day and NaNoWriMo (just around the corner!)

Agent Terry Burns gave a talk at the Glorietta writers conference on The publishing industry in a disastrous economy and it's really worth a read. It's a bit sobering, but it's also got some solid advice: I guess what I think it says is that we’re going to see a more cautious approach to acquisitions over the next months and see it taking longer to get decisions. The advice at the beginning of this talk to stay calm and have patience is appropriate. That gives us time to make that submission as good as possible, because the competition is going to be stronger than ever. Books that are simply “finished” won’t get it done, because the market is looking for books that are excellent. Should we quit writing and quit submitting? Of course not! Just keep doing business as usual . . . with a little more patience. Thanks to agent Terry Whalin for the link to the article.

In this article, originally published on Suite101, I'm giving tips on how to plunk your reader into your story world on page one without confusing them or making them feel like they've been drop-kicked into an alien culture. This is important because you want to introduce the setting and make the reader feel at home, and often you only have the first page to do that. It's not impossible! Immersing the Reader in the Novel Story World Skillfully drop the reader into the setting of the story by intriguing them without confusing them. The hardest place to set your reader down into your story world is the first page. But the reality is that readers in a bookstore and editors paging through thousands of manuscripts will usually only give you one page to catch their interest. One page. That first page must hook the reader and orient them in the novel story world without confusing them. It’s a tall order, which is why it’s best for novelists to spend the most time revi

In this article, originally published on Suite101, I'm breaking down a good opening hook into four types of hooks. Does your opening hook fall into one of the four categories? Grabbing the Reader’s Attention From the First Paragraph A novel needs to start with something so captivating that the reader is compelled to move on. This is called the Opening Hook. These days, the Opening Hook is important not just to hook readers, but to hook editors. In an informal survey of more than 50 editors and agents, author Cheryl Wyatt reports that 99% of them admit to only reading the first page of a submitted manuscript. If the story does not intrigue them in that first page, they won’t read on. That puts a great deal of pressure on unpublished writers to have an astounding first page. If the editor, who reads thousands of manuscripts a year, is not hooked, then that manuscript will only garner a form rejection letter. Work Hard on a Killer First Line. Lots of writers pooh-pooh havi

I’m guest blogging at Love Inspired author Missy Tippens’ blog about how I make my character voices so distinct.

This article I wrote, which originally was published on Suite101, is for any of you who might be wondering about some of the key elements to keep in mind as you start your novel. It can also be a checklist for your novel's opening. Getting a Story Under Way In popular fiction, every story should start with some sort of Change to indicate to the reader that the story problem is beginning. Dwight Swain ( Techniques of the Selling Writer ) says, “The function of your story’s beginning is to let your reader know there’s going to be a fight ... and that it’s the kind of fight that will interest him.” Swain doesn’t mean a literal fight, but something the character is fighting for. The Inciting Incident is the Change that propels the hero to fight for his External Goal. Most people, whether we like change or not, understand that when something changes, we can expect a new era or time of life to begin. The same principle applies to a reader—when he sees change in the story, he kn

This article I wrote originally appeared on Suite101. The Key Elements Needed Before the Novel is Written In order to craft a more cohesive story, writers should make sure they have these five elements in mind before they start or very soon after they begin writing. There are many different ways to write a story, and no one way is the “only way.” Some writers write as the story comes to them. Some plot out each step before they start writing. Some do a combination of both. But there are five main elements of a commercial story that are crucial for ensuring a strong storyline. Writers should try to nail these elements down before they get too far into the novel. If they don’t, they might end up writing themselves into a hole, or the story might end up being very aimless and episodic. 1. Introduce the Main Character Make sure there is a focal character or hero. Even if there are two main characters, there is always one who is more important to the story, or whose journey is

I talked about characterization and archetypes on MaryLu Tyndall's blog

I wrote an article on Blog Marketing at Christian Fiction Online Magazine: Blog Marketing I don't know how long the article will be up for, so read it quick! LOL

I wrote about time management on Christa Allan's blog .

This article originally was published on Suite101. How to Plan a Character’s Journey In popular fiction, every protagonist goes on a journey, whether physical or emotional. In Techniques of the Selling Writer , Dwight Swain wrote, “Anything endangering survival or happiness creates fear.” And the point of creating fear is to introduce tension. Tension is what hooks readers. A protagonist’s character arc should progress from happiness to fear to tension (for most of the book) and back to happiness. It’s cyclical. Create a Short Setup This establishes who the character is before the events of the story. A writer should show what the character desires, what constitutes happiness for the protagonist. Keep this section short, or incorporate the information within the action of the first chapter or two. Most editors prefer a quick start to the story. Hit the Protagonist With the Inciting Incident Also called the Catalyst, this is an external event that propels the charact

“Never be: Afraid. Aggressive. Arrogant. Unhappy. Difficult. Depressed. Make an editor roll her eyes. Too much artist, not enough business.” --Brenda Schetnan (writing as Molly Evans) in her article, “After the Call--The First Year” Remember, writing is a business. Much as art is a part of your writing, you also have to put on a business hat and think logically. Think market. Think audience. Think improvement.

This question came up on one of my writing loops, so I'm shamelessly stealing it for this blog post. How many completed manuscripts should you have under your belt before you query? 2? 5? 20? How polished should those manuscripts be? And what about series ideas and sequels and prequels? Camy here: The more I talk to agents and editors, the more I realize that they want to hear lots of IDEAS. Polish of the manuscript can come later, but if they don't like your first pitched idea, it doesn't matter that the book finaled in contests and is polished to a high pitch. You better have another idea to pitch to them if they say no to the first pitched idea. This is what happened with my Sushi series. The pub board hated the first book idea (an old version of Trish's story), but they wanted to see the second book idea/manuscript (Lex's story in Sushi for One ). I have several writer friends who have between 5 and 10 finished manuscripts. Don't freak out, many of them have

One of the Steeple Hill editors forwarded this link to an article on Episodic Writing that is simply fabulous: Plotting Problems - Episodic Writing

I recently put together a Synopsis Worksheet that will guide you through the process of writing a synopsis. The best part is that you don't need a full completed manuscript to use the worksheet--just a general idea of your characters and storyline. The worksheet is available as a .pdf file download for only $5. In case you were wavering about whether to buy it or not, here are a few endorsements from happy clients who used the worksheet in my recent Synopsis writing class: Camy Tang has a unique gift for guiding you through the process of putting together a synopsis. Her great insight helps you wrap up the main ideas step by step. I love the way she ensures you have a strong spiritual or internal arc in your synopsis. I can’t say enough good about her Synopsis Worksheet. You can’t go wrong with it. Debbie Lynne Costello Camy's Synopsis Worksheet was just the tool I needed! I dreaded writing my most recent synopsis— summarizing a 95,000 word novel into a few short pages? Aah! B

Click here for part five If your answers to the previous questions were “yes,” then it’s time to hire a freelance editor. If you’ve gotten feedback, entered contests, studied the craft of writing, finished a book, and done your market research, you have most likely moved from a beginning writer to an intermediate or advanced one. At that point, a freelance editor can use her experience to figure out how to push you to the next level of writing craft. You might have submitted your manuscript to a few agents or editors and gotten some rejections. Sometimes the rejections are form letters, sometimes they’re a little more personal (although it’s still a “no, thank you,” which can be frustrating). Often, your manuscript will get many rejections and while your critique partners are sympathetic, no one can pinpoint why your manuscript keeps getting rejected. Maybe you’re finalling and winning various writing contests (consistently finalling and winning), but you’re still getting rejections f

I blogged at Seekerville yesterday on Blogging for promotion , even if you're not yet published.

I blogged at LaShaunda's blog yesterday on the five main parts of a query letter and give an example of one: How to write a query letter

This article I wrote originally appeared on Suite101. The Factor That Keeps the Character in Trouble Every story needs a firm reason the character can’t just walk away from the story trouble. This is called the story crucible. If a character is able to walk away from the story problem at any time, readers will feel dissatisfied with the story premise. The character needs a solid reason why he struggles on and doesn’t just take the option of giving up. The Crucible Has to be Something Vital at Stake. The character cannot continue with his external goal simply because he’s too stubborn to give it up. There has to be more at stake for him. Someone’s life has to be in danger, whether figuratively or in actuality. It could be the character’s life or it could be someone the character cares for. There’s something vital on the line that can’t be ignored or sacrificed. For example: In the movie and series Buffy the Vampire Slayer , Buffy is the Slayer, the chosen girl who has po

Click here for part four Do you read extensively in the market you’re targeting? For example, if you’re targeting Christian fiction, do you read a lot of Christian fiction? If you’re targeting mass market romance, do you read a lot of mass market romances? If you’re targeting fantasy, do you read a lot of fantasy? If the answer is no, you are definitely not ready to hire a freelance editor. You may not realize it, but freelance editors can really tell when you haven’t read extensively in the market you’re targeting. Whether it’s a particular genre or a particular publishing house you’re targeting, if you haven’t done your research by reading those books, it’s obvious in your writing. For example, I have read manuscripts targeting, say, a Harlequin category romance line, who don’t have the hero and heroine meeting in the first chapter. If the writers read those romance books, they’d know a requirement of the line is for the hero and heroine to meet in the first chapter. I have also read