tag:blogger.com,1999:blog-3837401931251236232024-02-08T02:08:26.535-08:00Home School GraduateWriting Tips for Homeschoolers and Novice WritersN Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-383740193125123623.post-10802454663422849402020-05-11T07:08:00.000-07:002020-05-11T07:08:30.492-07:00GETTING STARTED<div class="MsoNormal" style="margin: 0in 0in 0pt;">
In my last posting, I mentioned how I began writing my first novel by jumping into the project with wild enthusiasm. Don’t do it. First do some research and arm yourself with the proper tools. It will save you a lot of time and frustration.</div>
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You can start before your nest is empty by teaching your students the basics of story writing: structure, plot development, character development, dialogue, point of view. There are myriads of books that concentrate on specific aspects of story telling. To get started, you only need a few.</div>
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First on the list are a couple dictionaries. I was amazed to find several words that appear in my mom’s dictionary are missing in newer editions. Likewise, new words like google and tweet don’t appear in the older editions. Get both to broaden your vocabulary. I also have Spanish and German dictionaries for foreign words I may wish to sprinkle into my manuscripts, when appropriate.</div>
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A thesaurus is a must. I use <st1:city w:st="on"><st1:place w:st="on"><i style="mso-bidi-font-style: normal;">Oxford</i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"> American Writer’s Thesaurus. </i>It assists with word choice and explains differences in meaning between similar words.</div>
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A couple classics are <i style="mso-bidi-font-style: normal;">Elements of Style </i>by William Strunk, Jr. and E.B. White and <i style="mso-bidi-font-style: normal;">Self-Editing for Fiction Writers </i>by Renni Browne and Dave King. <i style="mso-bidi-font-style: normal;">Elements </i>teaches one to write with simplicity and orderliness. <i style="mso-bidi-font-style: normal;">Self-Editing</i> introduces editing techniques used by professionals.</div>
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The best comprehensive book I’ve come across is Dwight V. Swain’s <i style="mso-bidi-font-style: normal;">Techniques of the Selling Writer.</i> It demonstrates how to group words into scenes and scenes into stories.</div>
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My favorite newer book is <i style="mso-bidi-font-style: normal;">The Art of War for Writers </i>by James Scott Bell. It gives a battle plan for writing a novel, covering tactics and strategies for developing, finishing, and publishing a story,</div>
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I found all these books at my local bookstore. They are also available through <a href="http://www.amazon.com/">Amazon</a>.—Quinn</div>
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N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-9595614530238350932017-05-05T08:54:00.001-07:002017-05-05T08:54:24.703-07:00How to Write a Query Letter<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So, you or your homeschool writer have completed and polished a manuscript, and are ready to have the story or article published. The first thing thing to do is study market guides. You can find agents and editors to query in such books as Sally Stuart’s <i style="mso-bidi-font-style: normal;">Christian Writers’ Market Guide</i>, <i style="mso-bidi-font-style: normal;">Writer’s Market</i> published by Writers Digest, and the <i style="mso-bidi-font-style: normal;">2013 Guide to Literary Agents </i>edited by Chuck Sambuchino. All can be found on <a href="http://amazon.com/">Amazon</a>. For convenience, editors and agencies are presented by genre.</div>
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Each publisher or agency lists the types of fiction and/or nonfiction it handles. Follow their contact instructions. Some only accept referrals or contacts they have made at conferences. Others request a synopsis and sample chapters. Many will only accept a query letter.</div>
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So what is a query letter? It is a one-page sales pitch whose purpose is to entice the agent/editor to ask for the full manuscript. This is one's opportunity to make a good first impression. Whether by e-mail or paper mail, use Standard English and follow a business letter format.</div>
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Set up pages with one-inch margins. The lines should be single space and paragraphs should be block style. Use Times New Roman and 12 font size. Center align your letter head. List your name in slightly larger font and your contact information—address, phone number, e-mail, web address—in slightly smaller font.</div>
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Align the inner address against the left margin. Always spell the agent/editor’s name correctly and use his proper title.</div>
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The first paragraph in the query’s body is a hook that is supposed to catch the agent/editor’s attention. It needs to contain the story’s title, genre, and word count. It can mention the name of a referral, part of the story line, or some fact within the story. To show that the query isn’t a form letter, mention something gleaned while researching the company.</div>
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The second paragraph resembles a book blurb such as seen on the back of book jackets. Summarize the first quarter of the book and name the protagonist, describe a bit of the setting, reveal his inner conflict, and explain the story problem. End the paragraph with a question.<br />
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The next paragraph is the writer's bio. Tell the agent/editor why this story is different from others of its kind and why the author is the one person who can tell it. Present credits, if any. Describe work or life experience that’s pertinent to the story and how the writer can promote the book. In the last paragraph, politely thank the agent/editor then ask whether they'd like to see a synopsis or proposal and sample chapters. When sending a paper letter, be sure to include a self-addressed stamped envelop.</div>
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Then the writer waits for the listed response time. If nothing appears, send a polite e-mail with the submission’s name and date and ask whether they received the query or whether a decision had been made. Once I waited twice the allotted time before contacting an editor who had requested my manuscript. She told me her computer had died, and she lost all her data. She asked that I resubmit. I would have lost out on a publication had I not e-mailed her. So, unless requested otherwise, make contact.</div>
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The following is my idea of how L. Frank Baum might query the Acme Agency if he was looking for a home for <i style="mso-bidi-font-style: normal;">The Wizard of Oz </i>today:</div>
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<o:p> </o:p><span style="font-size: 14pt;">L. Frank Baum</span></div>
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<span style="font-size: 14pt;"></span><st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;">1 Writers Lane</span></st1:address></st1:street></div>
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<st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;"></span></st1:address></st1:street><st1:place w:st="on"><st1:city w:st="on"><span style="font-size: 11pt;">Kansas City</span></st1:city><span style="font-size: 11pt;">, <st1:state w:st="on">Kansas</st1:state></span></st1:place></div>
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<st1:place w:st="on"><span style="font-size: 11pt;"><st1:state w:st="on"></st1:state></span></st1:place><span style="font-size: 11pt;"><a href="mailto:L.F.Baum555@searchengine,com"><span style="color: blue;">L.F.Baum555@searchengine,com</span></a></span><span style="font-size: 11pt;"></span></div>
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<span style="font-size: 11pt;"><a href="http://www.l.frankbaum,com/"><span style="color: blue;">www.L.FrankBaum,com</span></a><o:p></o:p></span></div>
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<span style="font-size: 11pt;"><o:p> </o:p></span></div>
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<span style="font-size: 11pt;">C.C. Smith<o:p></o:p></span></div>
<span style="font-size: 11pt;">Acquisitions Editor<o:p></o:p></span><br />
<span style="font-size: 11pt;">Acme Agency<o:p></o:p></span><br />
<st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;">121212 Park Place #4</span></st1:address></st1:street><span style="font-size: 11pt;"><o:p></o:p></span><br />
<st1:place w:st="on"><st1:city w:st="on"><span style="font-size: 11pt;">New York</span></st1:city><span style="font-size: 11pt;">, <st1:state w:st="on">New York</st1:state></span></st1:place><span style="font-size: 11pt;"><o:p></o:p></span><br />
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<span style="font-size: 11pt;">February 28, 2013<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Dear Mr. Smith,<span style="mso-spacerun: yes;"> </span>(Note: Double check the title and spelling)<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Your client John Rabowski recommended that I query you about my 60,000-word fantasy novel <i style="mso-bidi-font-style: normal;">The Wizard of Oz. </i>It is the story of Dorothy Gale, an unhappy <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state> farm girl who learns there is no place like home.<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Dorothy dreams of evading her problems by escaping to a land over the rainbow that is a much happier place. To her surprise, a cyclone picks up her house and carries her to a sparkling land filled with music and flowers and happy munchkins. Though she is welcome, she misses her family and wants to go home. The only one who can help her is the great and mighty Wizard of Oz. But he lives faraway at the end of a yellow-brick road that’s fraught with dangers from winged-monkeys, witches, fighting trees, and a deadly poppy field. Can a young girl survive such obstacles and return home?<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Having grown-up in <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state> and having studied American Folklore, I believe I am uniquely qualified to tell this American fairy tale. My short stories have appeared in such publications as <i style="mso-bidi-font-style: normal;">The Story Teller Magazine </i>and <i style="mso-bidi-font-style: normal;">Knights and Dragons.</i> I am on Face Book, have 3,500 Twitter followers, and receive 5,000 hits per month on my blog.<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Thank you for your consideration. May I send a synopsis and sample chapters?<o:p></o:p></span></div>
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<span style="font-size: 11pt;">Yours truly,<o:p></o:p></span></div>
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<span style="font-size: 11pt;">L. Frank Baum<o:p></o:p></span></div>
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So when should a writer query? For a novice, after he/she has completed and polished his/her manuscript. It is a good idea to have others read it before submitting. Moms will love it no matter what, so find objective readers who can give sound advice.—Quinn <o:p></o:p></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-67949602207984325702016-02-10T15:20:00.001-08:002016-02-19T13:56:14.384-08:00TEACHING A YOUNG CHILD TO WRITE<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">My homeschooling adventure began on day
one with my first child. At first, I did what every mom does. I talked and sang
to her. This served to stimulate her brain development. Early on, I began
reading to her as well. By age one, she played with wipe-able books, which were
placed within easy access with the rest of her toys. I read and sang nursery
rhymes at story time. This taught her the rhythm and syntax of language.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">As she grew, I further stimulated her
brain development by allowing her to explore her world. We provided many age appropriate
learning experiences. She went to parks, zoos, the beach, the snow, the
airport. At the grocery store, we talked about the foods. I allowed her to “help”
as I worked in the home and garden.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Between ages one and three, she sat beside
me on the couch reading picture books. I’d point to the pictures and we’d talk
about what we saw and what the characters were doing. This built her
vocabulary. Soon, she learned to sing the alphabet. While she learned the
letters, I pointed to words as I read to her. This way she
connected the symbols with sounds. Around age three, when she seemed ready, I
made up cards that contained phonetically similar words (at, bat, cat; book,
look, cook; can, fan man). I found several first readers that used this method.
She was delighted when she opened them and found she could read!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">My little student dictated her first story
(about a princess) to me at about three and a half. Over the next year or so as
she acquired a larger vocabulary and continued to make up stories, I gently
introduced the story format: beginning, middle, end. By five, she was writing
and illustrating her own little picture books. At six, she began a family
newsletter, <i style="mso-bidi-font-style: normal;">The Snoopy News</i>, to keep
our clan informed about our family’s activities. Now, many years and a few degrees
later, she is about to publish her first monograph.—Quinn</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-40942381351781838752015-09-16T17:51:00.000-07:002015-09-20T09:56:36.208-07:00YOU TOO CAN E-PUBLISH<br />
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In an earlier blog (<i style="mso-bidi-font-style: normal;">What
Happens After the End</i>, 9/22/15), I chronicled the steps in traditional
publishing. Another option which is gaining a large slice of the market share
is self-publishing. Writers no longer have to wait up to two years to see their
book on a store shelf. It can take as little as 24 hours for an e-book to be on
sale at Amazon.</div>
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There are two routes in self-publishing. The first is
working with a so-called vanity press. In this method, the author pays a publisher
several thousand dollars to go through the publishing process. This might be
good for a book that promotes a business and has limited circulation. The
second is indie publishing where the book is published free by an on-line store
such as <span style="color: black;">Amazon </span>for worldwide distribution.</div>
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The process is easy. All you need to do is upload the
manuscript, a blurb, keywords, and a cover. That should take five to ten
minutes. If you are using <span style="background: yellow; mso-highlight: yellow;"><span style="background-color: white;"><a href="https://kdp.amazon.com/select">Amazon</a></span></span>,
they will take a bit of time to review then within 24 hours you’ll be published.</div>
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Edit carefully before you submit your story. If it’s within
your budget, hire a professional editor for this. After that you’ll need to
format by using the easy to follow directions in <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/dp/B00822K3Z0">Building Your Book for Kindle</a>, </i>which is free on Amazon.</div>
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<o:p> </o:p>Amazon offers book covers. However, you can hire a
professional to customize one for $40 and up. They must be 100x1600 pixels.</div>
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Have a book blurb ready that describes your story. Examples
can be found on the back of book covers or by browsing through book pages on
Amazon. Decide ahead of time what your <a href="https://kdp.amazon.com/help?topicid=A200PDGPEIQX41"><span style="background: yellow; mso-highlight: yellow;"><span style="background-color: white;">categories</span></span> </a>are. These are equivalent to directions
to the particular stack in a library where your book may be found. You are also
allowed up to seven <span style="background: yellow; mso-highlight: yellow;"><span style="background-color: white;"><a href="http://kdp.amazon.com/help?topicid=A2EZES9JAJ6HO2">keywords</a></span></span>
or keyword phrases. These are used to direct readers to your book, so select
these carefully.</div>
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E-publishing is easy and your book will never be out of
print until you decide to remove it. You or your student might want to start
with short stories.—Quinn</div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-36587267346450561062014-10-29T07:27:00.000-07:002015-05-30T06:54:30.924-07:00THE MRU REVISITED<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Motivation reaction units are so important, I thought I should repost my blog entry, <em>What in the World is an MRU?</em> MRUs are the engines that move a story along and keep it interesting. Mastering this technique will take you or your homeschool student a long way in becoming an accomplished story teller.<br />
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Let’s talk about motivation reaction units (MRUs). The first time I heard these explained was by <a href="http://www.advancedfictionwriting.com/">Randy Ingermanson</a>, creator of the Snowflake Method. He read about them in Dwight V. Swain’s classic. <i style="mso-bidi-font-style: normal;">Techniques of the Selling Writer</i>, which is available on <a href="http://amazon.com/">Amazon.com</a>.</div>
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<o:p> </o:p>So what is a motivation-reaction-unit? An MRU is the fundamental grouping of words that form a story.</div>
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<span style="mso-spacerun: yes;"> </span>The first component of the MRU is a sentence or several sentences which comprise a cause. The cause is something the reader can see. It is totally outside of the point-of-view (POV) character, and can be anything tangible or intangible, conscious or unconscious that stimulates a change in the character. Neither the POV’s name nor pronouns that refer to him may appear in this part of the MRU.</div>
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The paragraph that follows contains the second half of the MRU. It is a sentence or group of sentences that show the effect of the stimulus. It is about the POV character and shows the change in his behavior or state of mind in response to the motivating stimulus. </div>
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The following is an excerpt from the prologue of my novel Kokoweef, which may be accessed by clicking the tab under the banner. I’ve labeled the alternating pattern of motivation and reaction. Notice that the motivating sentences are completely outside the POV. Also note how the stimulus produces a change in the POV that moves the story along</div>
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<o:p> </o:p>The soldiers assumed their posts. Commander Lucifer positioned himself on high ground opposite the wormhole, his generals at his sides.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
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<o:p> </o:p>Malum drew his swords. With Michael and his army vanquished, what would Lord Lucifer do next? Attack High Heaven? It had been eons since the Enemy cast them out. A victorious return would be joyous.<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
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<o:p> </o:p>The wormhole rumbled, and Lucifer raised his hands.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
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<o:p> </o:p>Malum’s swords shook. <i style="mso-bidi-font-style: normal;">Steady. Only moments until Lucifer signals to attack. </i>[REACTION]</div>
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<o:p> </o:p>A low whine grumbled in the passage.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
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<o:p> </o:p>Malum tightened his grips.<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
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<o:p> </o:p>The noise rose in pitch and volume. The tunnel’s crystalline walls vibrated.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
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<o:p> </o:p>He swallowed, and his breaths quickened. The surface on which he stood rolled and swayed. He fought for traction then furrowed his brows. Something was wrong. The resonance frequency had changed. An operational wormhole never made that high, warbling sound. What was Michael up to?<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
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<o:p> </o:p>Fire roared from the wormhole and incinerated several soldiers. The tunnel warped. Squealed. Folded inward. In a blink, it disappeared.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
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<span style="color: black;"><o:p> </o:p></span><span style="color: black;">Malum cursed, and turned his attention to Lucifer.<span style="mso-spacerun: yes;"> </span>[REACTION]<o:p></o:p></span></div>
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<span style="color: black;"><o:p> </o:p></span>Rage contorted the commander’s faces. He bellowed and lashed out with his swords. The heads of his generals rolled down slope to Malum’s feet.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]<span style="color: black;"><o:p></o:p></span></div>
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<span style="color: black;"><o:p> </o:p></span><span style="color: black;">His hearts lurched.<span style="mso-spacerun: yes;"> </span>[REACTION]<o:p></o:p></span></div>
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So why are the MRUs important? They provide the momentum that moves the story along. Strings of MRUs form scenes and sequences. Alternating scenes and sequences then produce the story pattern.—Quinn N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-63047813313977390282014-10-09T06:00:00.001-07:002014-10-09T06:00:06.365-07:00HOW TO WRITE FOR YOUNG ADULTS<br />
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Young adult (YA) literature incorporates nearly all genres.
Its main target is youth between twelve and eighteen, but older people may
enjoy it as well. The plots are primarily plot-driven and coming of age.</div>
<br />
Writing techniques employed in other genres also apply to
YA.. However, sentence structure is less complex and vocabulary is simpler. A
typical story runs between 40,000 and 70,000 thousand words. That’s enough to
develop a multi-dimensional story, but not so much that the reader loses
interest. While secondary characters can be any age, primary characters must be
teen or college age.<br />
<br />
The readers experience the story through a believable and
empathetic main character (MC) that they can identify with. As they feel the
MC’s emotions and participate in his problems, they can take part in their
resolutions. They vicariously overcome crises, reaching milestones on their way
to adulthood. This can give them a sense of security, validation, or meaning to
their lives. They might also experience psychological or emotional
transformation.<br />
<br />
Before you begin to write, get to know young adults. Listen
to their vocabulary and speech patterns and how they interact. Study their
books and magazines for style. Determine what plots or themes are overworked
and aim for something fresh.<br />
<br />
Teens are constantly bombarded with new experiences. Everything
is big, important, and intense. Possibilities are endless. They may feel
invincible or they may feel vulnerable and inconsequential, isolated and
craving community. Many that desire to change the world care deeply about
things of substance.<br />
<br />
Topics that interest them are romance, independence,
friends, influence of peer groups, and milestones like first date, first car,
first job. Stories for older teens may deal with drugs eating disorders,
cutting, and other intense subjects.<br />
<br />
Stories about romance and darkness are most favored.
Fictional romance from the MC’s unrequited love to his love relationships helps
the readers understand their fantasies. If the readers feel trapped and
helpless, they may turn to tales of dystopia and vampires. Identification with
the MC makes them feel more in control of their lives. Stories such as death,
suicide, and cutting allow readers to explore dark topics safely.<br />
<br />
The focus of all YA is growth. Readers who experience the
MC’s conflicts and resolutions gain more maturity and insight, which inches them
along toward adulthood.—Quinn N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-11876109150023293592014-09-22T08:22:00.000-07:002014-10-07T08:49:19.341-07:00WHAT HAPPENS AFTER "THE END?"<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
You, or your student, have completed a novel and want it
published. Since most publishers don’t accept unsolicited manuscripts, what
will you do? You need to find a literary agent. Query several agents and send
proposals to those that are interested. (See archived blogs) If one believes
the story will appeal to the market and will fit into what his agency
represents, he will accept it and act as the go-between between you and the
publisher.</div>
<br />
On first contact, the agent presents the manuscript to an
acquiring editor at a publishing house. If it fits well with the publisher’s
product line, he will submit a proposal though the firm’s acquisitions
committee. They will view the work as an investment in which they might profit.
To get past them, the book must have certain attributes. It must be
well-written and entertaining or informative. It must have potential for enough
distribution to make its publication profitable. It must be able to compete
with similar titles. And it must have a promotable platform.<br />
<br />
If the work meets the criteria and the committee members decide
to publish, they send it to the contracts and legal department. The author’s
agent negotiates with the acquiring editor. In addition to the amount of
advance money the author will receive, he will negotiate what type of rights
are involved. The document must state whether rights can revert to the author
after a period of time, whether he retains rights over foreign publications and
films, and what deadlines he must meet during editing. Once the author signs,
the work no longer belongs to him.<br />
<br />
After the contract is signed, the manuscript goes back to
the editor. In his first pass through it, he decides whether more or less text
in required, whether chapters should be shuffled for flow, and whether
information is clear and accurate. He then sends the manuscript back to the
author for revisions. In the next pass, the editor makes line edits and asks
for corrections and clarifications. If he is pleased with the revisions, the
author finally receives a “payment on acceptance” check. This is an advance
against future royalties.<br />
<br />
The acquiring editor then sends the edited manuscript to the
copy editor who looks at grammar, spelling, clarity, and makes sure the style
and grammar matches the market. Next stop is design and layout. They do
typesetting, page layout, and prepare files for e-books. They also decide on the
quality of the paper and create a dust jacket. Photos and illustrations are
added. Everyone reviews page proofs.<br />
<br />
Meanwhile the sales and marketing people will provide
information about the book to the book distributors and overseas publishers to
try to determine what potential sales are. If interest is high, they may
recommend that a co-publisher be employed for a large run, thereby cutting unit
costs. If interest is low, they may recommend that the print or marketing be
reduced or the book’s publication be dropped. Feedback from marketing also affects
formatting, sales strategy, artwork, design, and production of ads and
marketing material like catalogs.<br />
<br />
Before printing, printers produce a pre-press proof for the
publishers that show how the book will look. This is the last chance for
corrections. When the publishers sign off on it, it goes back to the printer. Following
the printing, the pages are folded, fixed to the board, and covered with the
cover.<br />
<o:p></o:p><br />
Marketing continues. It has three components, advertising
where publishers pay to place a book in the media or print, promotion which is
anything that draws attention to the book, and publicity where print and media
pieces on the author or book are used to increase sales. Publicity also sets up
book signings and tours.<br />
<br />
Months before their release, the sales department matches
genre and formats to the right market in the right quantity. They also present
titles to buyers and make presentations to buyers form chain stores and independent
stores. Advance copies are sent to the publisher, author, editor, and agent for
publicity mailings.<br />
<br />
After the printing, the books are packaged and sent to the
publisher’s warehouse to await distribution. The resale schedule depends on the
competition and the number of sales necessary to generate a profit. Next stop
is the distribution centers where the books are unpackaged, inventoried, and
shelved. The whole procedure from acquisition to the bookstore shelf may take
two years.—Quinn N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-19921085185346135442014-08-08T08:28:00.000-07:002014-10-07T08:50:37.874-07:00RUSH TO HISTORY!Well, the school year is about to start, and it's time for homeschoolers to get their curriculum together. As a supplement to American history, you might consider two childrens' books written by of all people, Rush Limbaugh. They are <em>Rush Revere and the Brave Pilgrims</em> and <em>Rush Revere and the First Patriots. </em>Both have spent weeks on the <em>New York Times</em> best sellers list and have earned Limbaugh recognition as the best children's author of 2013. The novels are historical adventures where middle school teacher Rush Revere and selected students time-travel through history on the talking horse Liberty. Though written for ten- to thirteen-year-olds, younger children and adults enjoy them as well.--QuinnN Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-5531943026370002562014-07-08T13:24:00.000-07:002014-10-07T08:51:02.436-07:00AMERICA: IMAGINE A WORLD WITHOUT HER<span style="background-color: #eeeeee;">Occasionally</span>, I will mention a book that I feel is very important. This time it is Dinesh D'Souza's, <em>America: Imagine a World without Her. </em>Told through the eyes of an immigrant, it is an overview of American history that has not been filtered through a "progressive" mindset. If you see the movie version, take a hanky and be prepared to cheer.--QuinnN Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-39279919927597197672014-05-30T07:39:00.000-07:002014-10-07T08:51:29.992-07:00THE PROPOSAL<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
After the writer submits a query letter to an agent or
editor, if the project fits the agency’s or publisher’s interests, they will
request a proposal. So, how do you write a proposal?</div>
<br />
Begin with a <b>cover letter. </b>This is similar to the
query. In the first paragraph, remind the editor that he asked for the
proposal. In the last paragraph, describe the enclosures.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The next page is the <b>title page</b>. Your name and
contact information single-spaced and in block-style goes in the upper
left-hand corner. Using 36-point and italicizing, center the title. Make it
five words or less, have it be catchy, and indicate something about the story.</div>
<br />
A <b>table of contents </b>is optional. If you use one,
place it after the title page.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The <b>executive summary </b>introduces the project in a
succinct form. Often the editor will make a preliminary decision based only on
a scan of this summary and a few of the submitted pages. Write its nine points
in an outline form. The first point is the title. Follow with: the genre and
sub genre, then the high concept sentence, the target audience, the length,
indicate whether the project is polished and available or give a completion
date, next comes a one paragraph summary, then a short one-paragraph biography.
End with a short marketing summary.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Ideally, a high-concept one-liner contains twenty-five words
or less. Confine yourself to one or two major characters and stay with one
thread of the story. Show how the character is in conflict and use words that
promote empathy.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Be specific about the target readers. Select them based on
their worldview, interests, gender, age, or anything that narrows down the pool
of readers to indicate particular people to whom the marketing should aim.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The word count for adult fiction runs between 60,000 and
120,000 words, depending on the genre and the publisher. Always check
guidelines before you submit.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The next page of the proposal contains the <b>competition</b>.
Research <a href="http://amazon.com/">Amazon.com</a> and find three to five books in your genre. List their
titles and authors. For each one, write a short paragraph summary and tell how
it is similar to and different from your work.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Though not mandatory, you can include <b>character sketches</b>.
Write approximately a page for each major character. Include any essential back
story, their goals, and how they relate to the story.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>A two-page single-spaced or a three- to five-page
double-spaced <b>synopsis </b>comes next. Write it in third person present
tense. Focus on the main plot points and write them in order, showing the
story’s beginning, middle, and end. The first time a character appears, write
his name in capital letters. Open with a hook that contains the main character
and a crisis. Show how he intends to solve the crisis. Be sure to include
motivations and emotions.</div>
<br />
An expanded version of your <b>biography </b>comes next.
Write it in third person. List your credits, pertinent education, and life
experiences.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The all important <b>marketing</b> section appears last. The
editor wants to know about your platform and who you can reach through
organizations, speaking engagements, columns. Include the URLs of your website
and/or blog.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Your well-written proposal is the first step in a long
process. If the editor is interested, he’ll ask for the complete manuscript. If
he likes that, he passes it on to the first of several committees that
ultimately decide whether the book will be published.—Quinn </div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-73506049094613206522014-04-11T09:23:00.000-07:002014-05-19T08:02:21.040-07:00HOW TO WRITE A QUERY LETTER<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So, you or your homeschool writer have completed and polished a manuscript, and are ready to have the story or article published. The first thing thing to do is study market guides. You can find agents and editors to query in such books as Sally Stuart’s
<i style="mso-bidi-font-style: normal;">Christian Writers’ Market Guide</i>, <i style="mso-bidi-font-style: normal;">Writer’s Market</i> published by Writers
Digest, and the <i style="mso-bidi-font-style: normal;">2013 Guide to Literary
Agents </i>edited by Chuck Sambuchino. All can be found on <a href="http://amazon.com/">Amazon</a>. For
convenience, editors and agencies are presented by genre.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Each publisher or agency lists the types of fiction and/or nonfiction it
handles. Follow their contact instructions. Some only accept referrals or
contacts they have made at conferences. Others request a synopsis and sample
chapters. Many will only accept a query letter.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So what is a query letter? It is a one-page sales pitch
whose purpose is to entice the agent/editor to ask for the full manuscript.
This is one's opportunity to make a good first impression. Whether by e-mail or
paper mail, use Standard English and follow a business letter format.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Set up pages with one-inch margins. The lines should be
single space and paragraphs should be block style. Use Times New Roman and 12 font
size. Center align your letter head. List your name in slightly larger font and
your contact information—address, phone number, e-mail, web address—in slightly
smaller font.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Align the inner address against the left margin. Always spell the agent/editor’s name correctly and use his proper title.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The first paragraph in the query’s body is a hook that is supposed
to catch the agent/editor’s attention. It needs to contain the story’s title,
genre, and word count. It can mention the name of a referral, part of the story
line, or some fact within the story. To show that the query isn’t a form
letter, mention something gleaned while researching the company.</div>
<br />
The second paragraph resembles a book blurb such as seen on
the back of book jackets. Summarize the first quarter of the book and name the
protagonist, describe a bit of the setting, reveal his inner conflict, and explain
the story problem. End the paragraph with a question.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The next paragraph is the writer's bio. Tell the
agent/editor why this story is different from others of its kind and why the author is the one person who can tell it. Present credits, if any. Describe work or
life experience that’s pertinent to the story and how the writer can promote the
book. In the last paragraph, politely thank the agent/editor then ask whether
they'd like to see a synopsis or proposal and sample chapters. When sending a
paper letter, be sure to include a self-addressed stamped envelop.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Then the writer waits for the listed response time. If nothing appears, send a polite e-mail with the submission’s name and date and ask
whether they received the query or whether a decision had been made. Once I
waited twice the allotted time before contacting an editor who had requested my
manuscript. She told me her computer had died, and she lost all her data. She asked
that I resubmit. I would have lost out on a publication had I not e-mailed her.
So, unless requested otherwise, make contact.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The following is my idea of how L. Frank Baum might query
the Acme Agency if he was looking for a home for <i style="mso-bidi-font-style: normal;">The Wizard of Oz </i>today:</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<o:p> </o:p><span style="font-size: 14pt;">L. Frank Baum</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<span style="font-size: 14pt;"></span><st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;">1 Writers Lane</span></st1:address></st1:street></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;"></span></st1:address></st1:street><st1:place w:st="on"><st1:city w:st="on"><span style="font-size: 11pt;">Kansas City</span></st1:city><span style="font-size: 11pt;">, <st1:state w:st="on">Kansas</st1:state></span></st1:place></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<st1:place w:st="on"><span style="font-size: 11pt;"><st1:state w:st="on"></st1:state></span></st1:place><span style="font-size: 11pt;"><a href="mailto:L.F.Baum555@searchengine,com"><span style="color: blue;">L.F.Baum555@searchengine,com</span></a></span><span style="font-size: 11pt;"></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<span style="font-size: 11pt;"><a href="http://www.l.frankbaum,com/"><span style="color: blue;">www.L.FrankBaum,com</span></a><o:p></o:p></span></div>
<br />
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-align: left;">
<span style="font-size: 11pt;">C.C. Smith<o:p></o:p></span></div>
<span style="font-size: 11pt;">Acquisitions Editor<o:p></o:p></span><br />
<span style="font-size: 11pt;">Acme Agency<o:p></o:p></span><br />
<st1:street w:st="on"><st1:address w:st="on"><span style="font-size: 11pt;">121212 Park Place #4</span></st1:address></st1:street><span style="font-size: 11pt;"><o:p></o:p></span><br />
<st1:place w:st="on"><st1:city w:st="on"><span style="font-size: 11pt;">New York</span></st1:city><span style="font-size: 11pt;">, <st1:state w:st="on">New York</st1:state></span></st1:place><span style="font-size: 11pt;"><o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">February 28, 2013<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Dear Mr. Smith,<span style="mso-spacerun: yes;"> </span>(Note: Double check the title and spelling)<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Your client John Rabowski
recommended that I query you about my 60,000-word fantasy novel <i style="mso-bidi-font-style: normal;">The Wizard of Oz. </i>It is the story of Dorothy Gale, an unhappy <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state> farm girl who
learns there is no place like home.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Dorothy dreams of evading her
problems by escaping to a land over the rainbow that is a much happier place.
To her surprise, a cyclone picks up her house and carries her to a sparkling
land filled with music and flowers and happy munchkins. Though she is welcome,
she misses her family and wants to go home. The only one who can help her is
the great and mighty Wizard of Oz. But he lives faraway at the end of a
yellow-brick road that’s fraught with dangers from winged-monkeys, witches,
fighting trees, and a deadly poppy field. Can a young girl survive such
obstacles and return home?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Having grown-up in <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state> and having
studied American Folklore, I believe I am uniquely qualified to tell this
American fairy tale. My short stories have appeared in such publications as <i style="mso-bidi-font-style: normal;">The Story Teller Magazine </i>and <i style="mso-bidi-font-style: normal;">Knights and Dragons.</i> I am on Face Book,
have 3,500 Twitter followers, and receive 5,000 hits per month on my blog.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Thank you for your
consideration. May I send a synopsis and sample chapters?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">Yours truly,<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;">L. Frank Baum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-size: 11pt;"></span> </div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So when should a writer query? For
a novice, after he/she has completed and polished his/her manuscript. It is a
good idea to have others read it before submitting. Moms will love it no
matter what, so find objective readers who can give sound advice. Next, we'll look at the proposal.—Quinn
<o:p></o:p></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-23499408622301916332014-03-25T15:00:00.000-07:002014-04-11T09:27:31.379-07:00HOW TO WRITE ROMANCE--Plot Part 5<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Romance is one of the most popular plots. It is character
driven, and the basic structure is boy meets girl, boy loses girl, boy either
recovers girl or loses her forever. The best romances have sympathetic
characters, great dialogue, and unique settings. Since they are short, usually
around 200 pages, character development is stressed.</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
In this plot, there are two major characters, the man and
the woman. Since the readers are predominantly women, the point of view (POV)
character should be the woman. She must be real, appealing, and in familiar
situations so the reader can identify and project herself into the character. The
POV must grow over the course of the story and display weaknesses as well as
strengths, flaws as well as abilities, interests, dislikes, and an occupation
relevant to the story. Conflict increases if the man and woman have differing
views that require one of them to change.</div>
<br />
In the beginning, where boy meets girl, often attraction
exists, but there is dislike on one or both their parts. If love develops,
don’t tell about it, show it. At the end of the first part, something separates
them.<br />
<br />
Boy loses girl in the story’s middle section. Usually three
obstacles occur which have nothing to do with the relationship. Each attempt to
resolve the situation results in more conflict and the stakes rise. Finally, an
overwhelming crisis develops.<br />
<br />
In the final section, the pair either overcomes the crisis
resulting in a happy ending or the crisis pulls them apart forever. In
commercial fiction, readers prefer happy endings.<br />
<br />
Romance may appear in all genres, including adventure,
mystery, suspense, science fiction, fantasy, historic, and all their sub
genres. A related plot is forbidden love. Obstacles in this plot include social
taboos, triangles, and differences in age, culture, or social standing. Next,
we’ll look at the Rescue.—QuinnN Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-29868133201575525482014-03-12T08:20:00.000-07:002014-04-11T09:27:51.031-07:00HOW TO WRITE THE CHASE--Plot Part Four<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Next, we’ll consider the Chase. This is an action driven
plot, high in tension and stimulating. Often, it’s unique and high concept,
having larger than life situations, like alien invasions, pandemics, killer
storms. The main character (MC) may be the pursuer or the pursued. There is
always a strong reason for a chase, with duty or obsession motivating the chase
itself. As always in story, there is a beginning, middle, and an end.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>In part one, the writer must establish a reason for the
pursuit and determine the pursuer. The stakes must be high. Capture dangerous.
If the MC is the pursued, he may be the victim of a bad situation, a mistake,
or a misunderstanding. He may have done wrong for a good reason. A motivating
incident presents itself by the end of this section.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The middle contains the chase. It is filled with near
captures, dangers, and physical action. Unrelenting tension builds as the
pursuer repeatedly closes in on the victim, only to have him escape.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Part three is the resolution. Here, the pursued is either
caught or he escapes, relieving tension.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> <em>T</em></o:p><em>he Fugitive </em>is an example of a chase plot. In part
one, Dr. Richard Kimble finds his wife murdered. The killer, a one-armed man,
flees the scene. Instead of going after the real killer, the authorities arrest
Kimble and try him for murder. On the way to Death Row, there’s an accident.
Kimble escapes from the crash scene and decides to clear his name.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Part two contains several narrow escapes as Deputy U.S.
Marshall Samuel Gerard tries to recapture Kimble. Kimble goes to a hospital to
treat his wounds. Someone recognizes him, but he escapes. While Gerard has him
cornered on a viaduct, Kimble leaps into raging water. He goes to a hospital to
look for a list of people with prosthetic arms. Gerard is close behind. Kimble
locates the one-armed man, Sykes, and discovers that his friend, Nichols, hired
the murderer as a hit man.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The resolution takes place in part three as Kimble confronts
Nichols. They fight while Gerard and his men close in. Aware that the
authorities now know the truth about the murder, Nichols tries to shoot Gerard.
Kimble stops him, then surrenders to Gerard and is exonerated.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p><i>Moby-Dick </i>is an example of a Chase plot. Ahab hunts
the whale. In <i>Les Miserables, </i>Javert tries to recapture Jean Valjean<i>.
</i>Sherlock Holmes<i> </i>seeks Moriarity. And in <i>Master and Commander,</i>
Aubrey pursues French merchant ships. Next time we will look at Romance—Quinn
<i><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-41851394679307051902014-03-04T15:06:00.000-08:002014-04-11T09:28:18.868-07:00HOW TO WRITE THE ADVENTURE--Plot Part Three<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Unlike the quest that is character driven, the adventure
story is all about a journey. The character is action-driven and doesn’t have
to grow in any way. The reader vicariously experiences exotic, strange, or dangerous
places as the main character (MC) seeks something. As in all stories, there is
a beginning, a middle, and an end.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>At the beginning of
the adventure, the story world is ordinary. Then, a motivating factor comes
along that encourages a change. It launches the MC into the middle. On the journey through a new story world, the MC
encounters obstacles and conflicts that are almost impossible to overcome. In
the end, he arrives at the goal and receives a reward.</div>
<br />
Fairy tales are simple adventures. Let’s look at <i>Tom
Thumb.</i> In the beginning, Tom is born into an ordinary home. Though he is
only the size of a thumb, he finds ways of helping his father. Some men who
would exploit him for monetary gain want to buy him. His father refuses the
offer. But Tom recognizes an opportunity to see the world. He asks his father
to sell him and promises to come home again.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The middle shows Tom during his journeys. Before the men
reach the town where Tom will go on display, he escapes [adventure one] and
hides in a mouse hole until they give up searching for him. He wakes from a
night in a snail shell and overhears robbers that plot to burglarize the
parson’s house. He offers to help them [adventure two], but when he is inside
the house he raises a ruckus that scares the robbers away. While hiding in a
hay pile, a cow eats him [adventure three]. He cries out. Thinking that the cow
is possessed, the parson kills it and throws its stomach on a dung heap. A wolf
comes along and gulps down the stomach in one piece [adventure four]. Tom
directs the animal to a place where he can get all the food he wants. </div>
<br />
The journey ends when Tom’s father finds the wolf in his
house, kills him, and frees Tom. Tom’s reward is returning safely to his home
and receiving his parent’s love.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The adventure is one of the most popular plots. Examples of
this story form are: <i><a href="http://en.wikipedia.org/wiki/Le_Morte_d%27Arthur">Mort d’Arthur</a>, <a href="http://www.imdb.com/title/tt0048960/plotsummary">Around the World in Eighty Days</a>,
<a href="http://en.wikipedia.org/wiki/Robinson_Crusoe">Robinson Crusoe</a>, <a href="http://en.wikipedia.org/wiki/The_Grapes_of_Wrath">Grapes of Wrath</a>, <a href="http://en.wikipedia.org/wiki/Raiders_of_the_Lost_Ark">Raiders of the Lost <st1:state w:st="on"><st1:place w:st="on">Ark</st1:place></st1:state></a>, and the <a href="http://rayburriss.hubpages.com/hub/LeftBehindSeries">Left Behind Series</a>.</i>—Quinn </div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-7867416053382611632014-02-17T15:03:00.000-08:002014-04-11T09:28:43.264-07:00HOW TO WRITE THE QUEST--Plot Part Two<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
While the quest may involve action, this plot form is
character driven rather than action driven. The main character (MC) goes on a
journey in which he seeks some object, person, or place. Along the way, he
encounters new things and meets new people. By the end of his search, he has
grown in some manner. As in all stories, there is a beginning, a middle, and an
end.</div>
<br />
In the opening scenes, the writer identifies the MC along
with a motivating incident in the form of an obstacle, a loss, or a challenge.
He has the MC explain why he is going on the quest, what he thinks he is
looking for, and how he will define success. <br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;">The Wizard of Oz</i>
presents Dorothy as an unhappy <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state>
farm girl who feels unappreciated and needs to save her beloved dog from a neighbor
who is trying to kill it. She runs away to a carnival where a worker convinces
her to return home.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The middle is the journey in which the MC fights and loses a
series of battles. He has at least one traveling companion with whom he
interacts, a helpful character, and a nemesis. The companion has his own
motivations for joining the MC, and the obstacles effect a change in him as
well. </div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
When Dorothy arrives home, she encounters her first major
obstacle, a tornado that picks up her house and transports her over the rainbow.
The helpful character, the good witch Glenda, tells her to follow the <st1:street w:st="on"><st1:address w:st="on">Yellow Brick Road</st1:address></st1:street>
to the City of <st1:city w:st="on">Oz</st1:city> where a powerful wizard might
help her find a way back to <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state>.
Dorothy decides to go in quest of Oz. However, the Wicked Witch of the West has
a grudge against her and places obstacle after obstacle in her path. Along the
way, three companions join her. The Tin Man believes the wizard can give him a
new heart, the Scarecrow wants a brain, and the Cowardly Lion needs to find
courage.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
At the end of the story, there is self-doubt followed by a
final battle which determines whether the quest is successful or not.
Afterwards, the MC reveals what he has discovered and how he has changed.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Dorothy finds Oz, and her companions discover what they desired
was within them all the time. However, since the wizard turns out to be a
fraud, Dorothy believes she will never see home again. She receives hope when
the wizard decides to ride a balloon over the rainbow. But hope is dashed when she
misses her ride. Glenda appears and tells Dorothy that her ruby slippers can
take her home. Dorothy returns to <st1:state w:st="on"><st1:place w:st="on">Kansas</st1:place></st1:state>
with a new attitude. She now believes true happiness is found in one’s own
backyard.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The Quest is a plot form used since ancient times. Gilgamesh
sets out to find immortality. Jason seeks the Golden Fleece. While he tries to
right wrongs, Don Quixote searches for Dulcinea. Lord Jim attempts to regain
his honor. As they journey toward their goals, each changes in some manner.—Quinn
</div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-63267840681500261072014-02-04T15:02:00.001-08:002014-10-07T08:52:04.950-07:00HOW TO CHOOSE A PLOT--Part One<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So, you may ask. What is the difference between plot and
story? Story is what happens, related in chronological order. Plot is story
plus why everything happens. The following are examples.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p><st1:place w:st="on"><st1:country-region w:st="on">Georgia</st1:country-region></st1:place>
punched in Jake’s number and waited while the phone buzzed.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“Yeah,” Jake said.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“You need to come home now.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“I’m busy.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“I’ve been waiting two hours.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;">Silence</i>.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“Okay,” Jake said. “I’m leaving now.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The phone clicked in <st1:place w:st="on"><st1:country-region w:st="on">Georgia</st1:country-region></st1:place>’s ear. She waited in the
parking lot. (Story)</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p></div>
<st1:place w:st="on"><st1:country-region w:st="on">Georgia</st1:country-region></st1:place>’s
hand shook as she punched in Jake’s number. Her queasiness grew with each buzz.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“Yeah,” Jake growled.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
She gulped, pressed the phone harder to her ear, and
listened to the giggles in the background. “You need to come home now.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“I’m busy.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;">I bet you are. </i>“I’ve
been waiting two hours.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;">Silence.<o:p></o:p></i></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;">What are they doing?<o:p></o:p></i></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
“Okay,” Jake snapped. “I’m leaving now.”</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The phone clicked in <st1:place w:st="on"><st1:country-region w:st="on">Georgia</st1:country-region></st1:place>’s ear. <i style="mso-bidi-font-style: normal;">Only a moment until they slither out the back way. </i>She opened the
car door and pulled the gun from her purse.<i style="mso-bidi-font-style: normal;">
</i>(Plot)</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Plot is composed of a series of cause and effect
relationships that reveal what happened and why. There are a number of basic
plots from which a writer may derive a story. We shall explore a few.—Quinn </div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-55981283917905573772014-01-19T11:31:00.000-08:002014-04-11T09:29:52.743-07:00HOW TO PORTRAY EMOTIONS--BODY LANGUAGE<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
People read fiction for a vicarious emotional experience.
Therefore, it is the author’s job to “hook” the reader and sustain his interest
by building an emotional arc which promotes empathy for the character while driving
the story forward. This is accomplished through the use of visceral reactions,
thoughts, and body language. The character’s feelings draw the reader into the
story and allow him to share the character’s emotional experience. Let’s look
at Mac’s encounter with a thug.</div>
<br />
Mac looked into the store’s barred windows. After the police
car passed him and rounded the corner, he walked past the rats and overflowing
garbage cans that lined the street.<br />
<br />
A man bumped into him.<br />
<i style="mso-bidi-font-style: normal;"></i><br />
<i style="mso-bidi-font-style: normal;">Big Spike Malone, the
Bull Dog’s errand boy. They know I have the merchandise.<o:p></o:p></i><br />
<br />
Mac prepared to fight.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>The snippet tells us that Mac is going to fight an unsavory
character that has bumped into him. It’s interesting but about as exciting as a
newspaper account. We don’t know who Mac is or why he is walking up the street.
He could be a store owner, a courier, a customer that just left a store. He
could be nonchalant or scared half to death. Let’s add some body language.</div>
<br />
Mac’s throat constricted. He flipped up his trench coat’s
collar and stared through the barred windows into the dilapidated store until
the crawling patrol car passed him. As soon as it turned the street corner, he
let out his breath and patted the packet of diamonds in his breast pocket.
Lowering his head, he passed rats and the overflowing garbage cans lining the
street and hurried in the opposite direction from the cops.<br />
<br />
A man bumped his shoulder. Hard. Then stopped.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Mac cocked one eyebrow, spun around, and, looking up at the
man’s Adam’s Apple, gulped. <i style="mso-bidi-font-style: normal;">Big Spike
Malone. The Bull Dog’s errand boy. They know I have the merchandise.<o:p></o:p></i></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<i style="mso-bidi-font-style: normal;"><o:p> </o:p></i>As he stood rooted to the gum splotched sidewalk, his pulse
ratcheted to overdrive. Then a flush wafted over his face. He drew his eyebrows
together and darted a sideways glance toward the street corner. A crooked smile
screwed up his lips. He lowered his chin and raised his fists.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Now we know a lot more about Mac. The constricted throat,
the raised collar, and the attempt to hide his face show he has some reason to
be afraid of the police. Patting the diamonds and quickly putting distance
between the police and himself further betrays nervousness. Could he be a
thief? He identifies Spike, gulps, and freezes, presumably fearful of what the
huge thug could do to him. Max is not a cop, so why does he know
Spike is a gangster? Is Max part of the mob too? The glance toward the corner
shows he is still cautious of the police, but the crooked smile, the tucked
chin, and the fists show he has courage and confidence and is ready to fight
the much larger man over the diamonds, which are probably stolen.</div>
<br />
To help draw your reader into the story world, show the
character’s actions and body language. Let the reader see what he sees, hear
what he hears, and feel what he feels both physically and emotionally.--Quinn.N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-71081764062360740222014-01-18T09:44:00.000-08:002014-04-11T09:30:29.071-07:00HOW TO PORTRAY EMOTIONS--INNER DIALOGUEIn previous discussions, we learned emotion is a reaction to
a motivator. When writing about emotional reaction, we break it into its components.
First, there is an involuntary visceral reaction to the stimulant (fight or
flight mechanism), followed by thought, then dialogue and/or action. These
steps must come in chronological order or the reader feels unsettled. We’ll
look at methods for portraying thoughts.<br />
<br />
The point of view character (POV) can express his thoughts
through the use of Inner Dialogue. With his own voice, he can emote, reflect, and
make observations. He can fantasize, reveal hurts, desires. He can discuss
things he’d never say aloud or act upon.<br />
<br />
In third person, there are two ways of doing this. The first
is by expressing the thought in first person. This sets it off from the
narration. Used sparingly, it is always placed in italics. The second way is by
leaving the words in third person and allowing the context to show they are thought.
Italics are never used and tags (he thought, she pondered) are rarely used. It
is intimate and when done correctly the line between inner dialogue and description
is blurred. This promotes smooth transitions back and forth between description
and the POV’s thoughts.<br />
<br />
The following is an excerpt from my novel <i style="mso-bidi-font-style: normal;">Echoes. </i>The POV character is former
linguistics professor Dr. Alejandro de Cordoba de la Rosa, now a foreign agent
who is tracking an arms shipment that was sent from his country in South
America to <st1:place w:st="on"><st1:state w:st="on">California</st1:state></st1:place>.
Working incognito, he has presented himself to a semi-rural community as an
immigrant day laborer who has limited English. I’ve underlined his inner
dialogue.<br />
<br />
A purring engine approached. Tires
skidded on the gravel, and a dusty GMC truck crunched to a stop by the barn.<br />
<br />
“Hey, Alejandro.” Dr. Crossman
jumped from the cab, agile as a man half his eighty-five years.<br />
<br />
Alejandro leaned on the axe handle
and nodded.<br />
<br />
The old man whistled at the
woodpile. “A job well done, my friend.” He pulled out his wallet and handed his
worker three crisp twenties. His gaze rested on Alejandro’s arm. “That’s quite
a scar you got there, son. Looks fairly recent. I got a couple just like it at <st1:place w:st="on"><st1:state w:st="on">Normandy</st1:state></st1:place>.”<br />
<br />
Alejandro buried the axe blade in
the chopping block and stuffed the bills in a pocket of his baggies. Reaching
for the shirt that hung on a fence post, he chided himself. <u>He’d have to be
more careful. Keep quiet. Never do anything memorable. Never attract attention
in any way</u>. [<i style="mso-bidi-font-style: normal;">he’s impatient with
himself and reveals he’s hiding who he is</i>]<br />
<br />
“I’m heading down for a load of
hay,” Crossman said. “If you’re interested in helping out, hop in.”<br />
<br />
Alejandro stepped to the passenger
door and glanced over his shoulder. A delivery truck had turned into the
nursery’s driveway. <u>It could be hauling anything. Plants. Guns. Fertilizer
for manufacturing explosives. </u>[<i style="mso-bidi-font-style: normal;">shows
he’s curious</i>]<br />
<br />
He swung onto the passenger seat,
and the GMC lurched forward. His head jerked back as the door slammed shut.
Heart pumping like a piston, he hunted for the seatbelt. The truck zoomed down
the long driveway toward the bridge, turning the light shining through the
trees into a high-speed strobe. On the narrow canyon road, the vehicle flew
through twists and turns. He gulped. <u>The old man was insane</u>. [<i style="mso-bidi-font-style: normal;">shows fear</i>]<br />
<br />
“You a praying man, son?” Crossman
made eye contact, whizzed past a sign that said speed limit 30 mph, and
barreled directly toward a knot of bicyclists.<br />
<br />
Alejandro flinched and grabbed his
armrest. “No, <i style="mso-bidi-font-style: normal;">señor</i>.” <u>But he might
become one soon</u>. [<i style="mso-bidi-font-style: normal;">fear for his safety
is mounting</i>]<br />
<br />
“Where ya from?”<br />
<br />
“Here, now.”<br />
<br />
“Hmm…” Crossman chewed his
toothpick. “Most immigrants I know are either running from something or
searching for something. My guess is you’re a searcher.”<br />
<br />
Alejandro shrugged.<br />
<br />
“Or maybe you’re both. Running from
something to find something.” Crossman stomped on the brakes, slamming
Alejandro against his shoulder restraint. “Gotta watch it along this stretch.
Sheriff hides on those rabbit trails, and he’s just plain unreasonable.” He
craned his neck and waved at a half-hidden patrol car. Around the bend, he
floored the accelerator. “Yep, too bad you’re not a prayer. Makes it a lot
easier for a man to determine God’s plans for him.”<br />
<br />
Alejandro kept his eyes straight
ahead. <u>He didn’t need help—except for surviving this trip. He knew his
destiny. It involved putting a bullet in Esteban’s greasy face. </u>[<i style="mso-bidi-font-style: normal;">he is determined, fantasizes, and reveals
more of his dark mission</i>]<br />
<br />
“Ya got a Green Card?”<br />
<br />
“<i style="mso-bidi-font-style: normal;">Sí</i>.”<br />
<br />
“How about a driver’s license?”<br />
<br />
“<i style="mso-bidi-font-style: normal;">Sí</i>.” <u>Both courtesy of Vito’s counterfeiters</u>. [<i style="mso-bidi-font-style: normal;">He’s thankful to his handlers and reveals
more of who he is</i>]<br />
<br />
“Haven’t kept the ranch up like I
did before the missus took ill. Our daughter’s helping out, but she has a boy
at home that’s a handful. I’m impressed by your work. Would you be interested
in $500 a week, the use of the cabin, credit at the grocers, Sundays, half
Saturdays and holidays off?”<br />
<br />
Alejandro grinned. “<i style="mso-bidi-font-style: normal;">Sí, señor</i>.” <u>What could be better? A
twenty-four-hour-a-day view of the nursery. </u>[<i style="mso-bidi-font-style: normal;">he’s delighted at his mission’s progress</i>]<br />
<br />
<br />
Unlike Dr. Crossman who thinks he
has hired an immigrant day laborer, a common occurrence in his community, the
reader sees that Alejandro is quite educated and has a dark mission he is
keeping secret. Inner dialogue adds depth and intimacy with the POV
character.—Quinn<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.5in;">
<u><o:p><span style="text-decoration: none;"> </span></o:p></u></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-19726174651368036472014-01-17T09:37:00.000-08:002014-04-11T09:31:07.424-07:00HOW TO PORTRAY EMOTIONS--THE VISCERAL REACTIONIn my blog on emotion (1/16/14), we looked at ways of
demonstrating the point of view (POV) character’s feelings. Why are we
interested? Because story is conflict or tension fueled by emotion. In response
to a motivator (see The MRU 8/26/13), an internal reaction provides the reason
for the POV’s response, which moves the story along.<br />
<br />
The portrayal of an emotional reaction within a story is
broken down and shown chronologically as it happens. Immediately after the
motivation, there is a visceral response followed by thought then dialogue
and/or action. If taken out of order, the reader feels unsettled.<br />
<br />
So what is a visceral response? It is the fight or flight mechanism.
Triggered by a threat, the body shuts down organs not necessary for survival and
concentrates on those that do. Eyesight may narrow. Attention may concentrate
on a particular sound. Adrenal glands may spurt adrenaline. There may be
physical reactions like goose bumps or flushing. The contraction of the muscles
in the stomach wall may cause nausea or butterflies.<br />
<br />
The visceral response is the strongest indicator of an
emotion that will activate a change in the POV’s mind. If powerfully written,
the story world becomes real and vivid as the reader imagines the same emotion
in his own body.<br />
<br />
Ways to portray visceral reactions are with involuntary
internal and physical reactions. Here are a few:<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p><u>Emotion</u><span style="mso-spacerun: yes;"> </span><u>Visceral Response</u></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Anger<span style="mso-spacerun: yes;">
</span>Internal: body tense, heart pounding, face flushing</div>
Physical: noisy breathing, protruding eyes, veins that pulse<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Fear<span style="mso-spacerun: yes;">
</span>Internal: speechless, weak leg joints, rapid heartb<br />
Physical: frozen to a spot, shaking, hair standing on end</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Love<span style="mso-spacerun: yes;">
</span>Internal: flutters in stomach, tongue-tied, heart hammering</div>
Physical: brightening, euphoria, nervousness <br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Sympathy<span style="mso-spacerun: yes;"> </span>Internal:
ache in throat, emotionally strained<br />
Physical: sad countenance, deep sighs, crying</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Never label an emotion. Show it. This allows the reader to
experience it. And always depict the emotion as it progresses. When a sad
person finds joy, show his sadness. Have the sadness go to wonder, then to
belief, then to joy.</div>
<br />
The second phase of an emotional response is thought. Next
time we’ll investigate internal dialogue.—Quinn N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-25715098204867538372014-01-16T09:37:00.000-08:002014-04-11T09:31:48.319-07:00HOW TO PORTRAY EMOTIONS<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
We’ve been talking about some of the elements of story, but
what is story? Conflict. What fuels conflict? Emotion. Let’s see how emotion
works by using a few examples.</div>
<br />
1.<span style="mso-spacerun: yes;"> </span>She felt happy that Tim had returned.<br />
2.<span style="mso-spacerun: yes;"> </span>He was annoyed since Tim was late.<br />
3.<span style="mso-spacerun: yes;"> </span>He was angry that Tim showed up.<br />
4.<span style="mso-spacerun: yes;"> </span>She was frightened that Tim found her.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>These are examples of telling rather than showing. They
relate information about the characters reaction to Tim, but it is dry as a
laundry list and doesn’t engage the reader. It’s the writer’s job to allow the
reader to feel the character’s emotions. This holds the reader’s interest and
pulls him into the story. First, let’s let the characters show how they feel
about Tim by using dialogue.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>1. “Tim.
It’s wonderful to see you.”<span style="mso-spacerun: yes;"> </span>(happy)</div>
2.<span style="mso-spacerun: yes;"> </span>“It’s about time, Tim.”<span style="mso-spacerun: yes;"> </span>(annoyed)<br />
3.<span style="mso-spacerun: yes;"> </span>“Tim, how did you get in here?”<span style="mso-spacerun: yes;"> </span>(angry)<br />
4.<span style="mso-spacerun: yes;"> </span>“It’s Tim. Hide.”<span style="mso-spacerun: yes;"> </span>(frightened)<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Now we’ve stepped into the characters’ world. Through their
voices, we hear what they feel about Tim’s appearance. Let’s get closer to the
characters and add their visceral reactions.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>1. Warmth
washed over her face. “Tim. It’s wonderful to see you.”</div>
2.<span style="mso-spacerun: yes;"> </span>His jaw tightened. “It’s about time, Tim.”<br />
3.<span style="mso-spacerun: yes;"> </span>He ground his teeth. “Tim, how did you get in
here?”<br />
4.<span style="mso-spacerun: yes;"> </span>Time seemed to stop. “It’s Tim. Hide.”<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>Now we’re getting their primitive reactions to Tim. Let’s
add their thoughts.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
1. Warmth
washed over her face. “Tim. It’s wonderful to see you.” My goodness. How handsome he’s grown. And no ring.<span style="mso-spacerun: yes;"> </span></div>
2.<span style="mso-spacerun: yes;"> </span>His jaw tightened. “It’s about time, Tim.” <st1:city w:st="on"><st1:place w:st="on">Moron</st1:place></st1:city>. The clients have been twiddling their thumbs half the morning.<br />
3.<span style="mso-spacerun: yes;"> </span>He ground his teeth. “Tim, how did you get in
here?” Did he plant any bugs on his way in? I’m going to fire that airhead
receptionist. <br />
4.<span style="mso-spacerun: yes;"> </span>Time seemed to stop. “It’s Tim. Hide.” He
said he’d find us. He said he’d kill us.<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>We know exactly how the characters feel about Tim and why.
Now we understand their motives and participate vicariously in their actions. </div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>1. Warmth
washed over her face. “Tim. It’s wonderful to see you.” My goodness. How handsome he’s grown. And no ring. She
tore her gaze from his soft eyes and patted the open stool next to her.
“Join me for coffee?”<span style="mso-spacerun: yes;"> </span></div>
2.<span style="mso-spacerun: yes;"> </span>His jaw tightened. “It’s about time, Tim.” <st1:city w:st="on"><st1:place w:st="on">Moron</st1:place></st1:city>. The clients have
been twiddling their thumbs half the morning. He
grabbed Tim’s arm and dragged him toward the boardroom<br />
3.<span style="mso-spacerun: yes;"> </span>He ground his teeth. “Tim, how did you get in
here?” Did he plant any bugs on his way in? I’m going to fire that airhead
receptionist. He punched the button that alerted security.<br />
4.<span style="mso-spacerun: yes;"> </span>Time seemed to stop. “It’s Tim. Hide.” He
said he’d find us. He said he’d kill us. She shoved the children behind the
couch, grabbed the gun, and aimed at the door.<br />
<br />
Using dialogue, visceral reaction, thoughts, and action, the
writer draws his readers into the story world by allowing them to feel the
characters’ emotions and participate in their actions. As the emotions meet
obstacles, conflict heightens and the plot progresses.—Quinn <br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p></div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-78281776443187484622013-09-11T07:35:00.003-07:002013-09-11T07:35:42.905-07:009-11Never forget!N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-45612927597819347172013-08-26T05:55:00.000-07:002014-10-07T08:52:49.704-07:00What in the World is an MRU?<br />
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Let’s digress from our study of emotion this time and talk
about motivation reaction units (MRUs). The first time I heard these explained
was by <a href="http://www.advancedfictionwriting.com/">Randy Ingermanson</a>, creator of the Snowflake Method. He read about them
in Dwight V. Swain’s classic. <i style="mso-bidi-font-style: normal;">Techniques
of the Selling Writer</i>, which is available on <a href="http://amazon.com/">Amazon.com</a>.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p>So what is a motivation-reaction-unit? An MRU is the
fundamental grouping of words that form a story.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="mso-spacerun: yes;"> </span>The first component of the MRU is a sentence or several
sentences which comprise a cause. The cause is something the reader can see. It
is totally outside of the point-of-view (POV) character, and can be anything
tangible or intangible, conscious or unconscious that stimulates a change in
the character. Neither the POV’s name nor pronouns that refer to him may appear
in this part of the MRU.</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The paragraph that follows contains the second half of the
MRU. It is a sentence or group of sentences that show the effect of the
stimulus. It is about the POV character and shows the change in his behavior or
state of mind in response to the motivating stimulus. </div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
The following is an excerpt from the prologue of my novel
Kokoweef, which may be accessed by clicking the tab under the banner. I’ve
labeled the alternating pattern of motivation and reaction. Notice that the
motivating sentences are completely outside the POV. Also note how the stimulus
produces a change in the POV that moves the story along</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>The soldiers assumed their posts.
Commander Lucifer positioned himself on high ground opposite the wormhole, his
generals at his sides.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>Malum drew his swords. With Michael
and his army vanquished, what would Lord Lucifer do next? Attack High Heaven?
It had been eons since the Enemy cast them out. A victorious return would be
joyous.<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>The wormhole rumbled, and Lucifer
raised his hands.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>Malum’s swords shook. <i style="mso-bidi-font-style: normal;">Steady. Only moments until Lucifer signals
to attack. </i>[REACTION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>A low whine grumbled in the
passage.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>Malum tightened his grips.<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>The noise rose in pitch and volume.
The tunnel’s crystalline walls vibrated.<span style="mso-spacerun: yes;">
</span>[MOTIVATION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>He swallowed, and his breaths
quickened. The surface on which he stood rolled and swayed. He fought for
traction then furrowed his brows. Something was wrong. The resonance frequency
had changed. An operational wormhole never made that high, warbling sound. What
was Michael up to?<span style="mso-spacerun: yes;"> </span>[REACTION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<o:p> </o:p>Fire roared from the wormhole and
incinerated several soldiers. The tunnel warped. Squealed. Folded inward. In a
blink, it disappeared.<span style="mso-spacerun: yes;"> </span>[MOTIVATION]</div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<span style="color: black;"><o:p> </o:p></span><span style="color: black;">Malum
cursed, and turned his attention to Lucifer.<span style="mso-spacerun: yes;">
</span>[REACTION]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<span style="color: black;"><o:p> </o:p></span>Rage contorted the commander’s
faces. He bellowed and lashed out with his swords. The heads of his generals
rolled down slope to Malum’s feet.<span style="mso-spacerun: yes;">
</span>[MOTIVATION]<span style="color: black;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in;">
<span style="color: black;"><o:p> </o:p></span><span style="color: black;">His
hearts lurched.<span style="mso-spacerun: yes;"> </span>[REACTION]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<o:p> </o:p></div>
So why are the MRUs important? They provide the momentum
that moves the story along. Strings of MRUs form scenes and sequences.
Alternating scenes and sequences then produce the story pattern.—Quinn N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-36345293186390158372013-06-10T15:40:00.000-07:002013-06-10T15:40:00.784-07:00CONTEST<div class="MsoNormal" style="margin: 0in 0in 0pt;">
My last few blogs dealt with writing for children. A good way to hone your craft and get the attention of editors is by entering writing contests. <i style="mso-bidi-font-style: normal;"><a href="http://www.childrenswriter.com/">Children’s Writer</a> </i>is sponsoring a contest called Kindergarten Story: Exploration. The publication is an e-mail newsletter read by editors of children’s books and magazines in <st1:place w:st="on">North America</st1:place>. <b style="mso-bidi-font-weight: normal;">First prize</b> will be <b style="mso-bidi-font-weight: normal;">$500</b>; second will be $250; and third, fourth, and fifth will be $100. Submissions are due by <b style="mso-bidi-font-weight: normal;">July 12, 2013</b> and prizes will ne awarded by October, 2013.</div>
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<br /></div>
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Entries need to be fictional, their topic exploration, and they cannot exceed <b style="mso-bidi-font-weight: normal;">150 words</b>. The target is five through seven-year-olds, so use settings familiar to children of that age group and create a main character that explores an appropriate topic. Some suggestions for exploration include people, animals, nature, professions, and make-believe. The vocabulary should be fun, colorful, and on a level that most early learners can read. Use techniques covered on this blog and its archives and be sure to use normal story structure. That is, there must be a beginning, a middle, and an end.</div>
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Pay careful attention to the contest’s <b style="mso-bidi-font-weight: normal;">submission standards</b>, especially to word length. They may be accessed at <i style="mso-bidi-font-style: normal;"><a href="http://www.childrenswriter.com/">Children’s Writer</a> </i>by clicking on Guidelines in the sidebar—Quinn </div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-70173750277053769942013-05-09T09:46:00.000-07:002013-05-26T08:48:10.140-07:00Writing for Children-Part Three Non-Fiction<div class="MsoNormal" style="margin: 0in 0in 0pt;">
While non-fiction’s purpose is to impart well-researched information, non-fiction for children should retain the flavor of lively storytelling. It must be age appropriate with word and page restrictions identical to that of fiction. As with all stories, non-fiction’s structure consists of a beginning, middle, and an end.</div>
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<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Make the opener invoke curiosity, awe, and urgency. This can be done by using an anecdote, an amazing fact, a quote, or a quotation. A reason why the child should be interested in the topic must follow.</div>
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In the middle, present one fact at a time. Use short paragraphs and short sentences. Organize your information logically so the child understands sequentially. Break up narration with images, graphs, or timelines and compare difficult concepts to something easily visualized. Always use concrete language. Difficult words can be defined in the text.</div>
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<br /></div>
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The conclusion will be a summation and restatement of the beginning. A glossary, index, bibliography or a list of books for further reading can appear at the end.</div>
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<br /></div>
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The following describes several of the categories you can choose from if you decide to write non-fiction. <i style="mso-bidi-font-style: normal;">Biographies</i> are written for preschoolers as well as older children. Rather than only mentioning major events, anecdotal information is used and a large part of the story takes place in the subject’s childhood. <i style="mso-bidi-font-style: normal;">How to and activity books</i> use illustrations and materials lists along with step-by-step instructions. <i style="mso-bidi-font-style: normal;">Behind the scenes books </i>show how things work or are produced. <st1:place w:st="on"><i style="mso-bidi-font-style: normal;">Holiday</i></st1:place> books may deal with origins, traditions, or folk tales. Games, crafts, and songs may be included. <i style="mso-bidi-font-style: normal;">History books</i> cover one era, event, or topic. <i style="mso-bidi-font-style: normal;">Sports and adventure</i> <i style="mso-bidi-font-style: normal;">books</i> are lively, action-packed, and present basic information while using pictures. <i style="mso-bidi-font-style: normal;">Museum book</i>s are primarily visual. Filled with color pictures and artwork, their subjects are explained directly and concisely. <i style="mso-bidi-font-style: normal;">Science books</i> cover many subjects. In the lower grades, some of the topics that interest children the most are dinosaurs, fossils, insects, weather, simple machines, habitats, and anatomy. For older children, subjects that relate to school curriculum are considered.</div>
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<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
So, you are ready to write a non-fiction book. How do you choose your topic? Study your audience. Discover the leisure pursuits of the children in your targeted age group. Be familiar with the magazines they read and the news they see. Find out what interests young adults, for their tastes may have filtered down to the younger kids by the time you are published. Then research, using source materials.—Quinn </div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0tag:blogger.com,1999:blog-383740193125123623.post-89571033804368158142013-04-26T08:34:00.000-07:002013-05-26T08:49:29.214-07:00Children's Literature---Part Two Writing for Elementary Age Children<div class="MsoNormal" style="margin: 0in 0in 0pt;">
My last blog dealt with picture books and story books for preschoolers. Today, I’ll cover easy readers, chapter books, and middle grade novels, which are also quite structured.</div>
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<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Easy readers are written for children from kindergarten through second grade. Vocabulary is simple and illustrations, which may be in black and white or color, contain reading cues. They run between 1,000 and 1,500 words and 40 to 60 pages in length. The plots and settings are not complex. Though there is action, conflicts are not serious and they involve situations common to this age group.</div>
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<br /></div>
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Serving as a transition between picture books and novels, chapter books are aimed at children in the first through third grades. They may be illustrated. If so, it is with black and white drawings. At 1,500 to 10,000 and 40 to 80 pages in length, they require a longer attention span and a higher reading level. As in all stories, the plot must have a beginning, middle, and an end. Short three to four page chapters are self-contained but must serve to move the story along. Conflict is not serious.</div>
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Middle grade novels are written for third through sixth graders. Subjects are usually divided by gender. Books for boys deal with things traditionally masculine like sports and science. Stories for girls include traditionally feminine subjects like friendships, pets, and art. There are few if any illustrations. Typically, they run from 64 to 120 pages long and contain 10,000 to 16,000 words. Each of the eight to sixteen chapters has three scenes.</div>
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Like adult novels, the middle grade novel must have plot structure and character growth. It must be visually appealing starting with a realistic cover illustration. Inside, there must be balance between dense text and “white space,” accomplished by mixing dialogue and paragraphs. Sentences should be short, averaging ten words long and avoiding too many clauses. For vocabulary, use the easiest word that conveys the meaning. Rely on repetition, context, and intuition for understanding new or difficult words.</div>
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The story should be very visual and contain a lot of action and humor. While adults may be in the novel, the main character is a child. The story is told from his point of view and he reacts to situations as a child would. While likeable, he needs to be flawed in some manner. His voice should be light-hearted and intimate. Problems should be familiar to a kid’s world, and he must be the one who solves them. By the end of the book, he must change in some way.</div>
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<br /></div>
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Aside from the main plot, middle grade novels should have no more than two subplots. Characters should be slightly older than the reader. Popular genres are mysteries with kid detectives, fantasies that empower kids, and histories where a child is in a difficult situation. In addition to a physical description, humor, snappy dialogue, internal dialogue (thoughts), and gestures describe him. Humor can be visual gags, corny jokes, or ridiculous situations. However, bear in mind that he and the readers can’t process sarcasm and never let him poke fun at anyone’s expense.</div>
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The audience and market for easy readers still include adults. Adults are less involved in selecting chapter books, and middle graders choose their own books. To determine what kind of characters children can identify with, the writer should become familiar with kids’ conflicts, aspirations, and interests as well as how they think, talk, and perceive the world. The best way to do this is to observe them in various settings.</div>
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Next time we’ll look at non-fiction books for elementary children.—Quinn </div>
N Quinnhttp://www.blogger.com/profile/01154192717237225339noreply@blogger.com0