HOW TO WRITE FOR YOUNG ADULTS

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.

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.

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.

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.

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.

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.

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.

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

WHAT HAPPENS AFTER "THE END?"

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

RUSH 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 Rush Revere and the Brave Pilgrims and Rush Revere and the First Patriots. Both have spent weeks on the New York Times 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.--Quinn

AMERICA: IMAGINE A WORLD WITHOUT HER

Occasionally, I will mention a book that I feel is very important. This time it is Dinesh D'Souza's, America: Imagine a World without Her. 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.--Quinn

THE PROPOSAL

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?

Begin with a cover letter. 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.

 The next page is the title page. 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.

A table of contents is optional. If you use one, place it after the title page.

 The executive summary 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.

 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.

 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.

 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.

 The next page of the proposal contains the competition. Research Amazon.com 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.

 Though not mandatory, you can include character sketches. Write approximately a page for each major character. Include any essential back story, their goals, and how they relate to the story.

 A two-page single-spaced or a three- to five-page double-spaced synopsis 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.

An expanded version of your biography comes next. Write it in third person. List your credits, pertinent education, and life experiences.

 The all important marketing 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.

 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

 

HOW TO WRITE A QUERY LETTER

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 Christian Writers’ Market Guide, Writer’s Market published by Writers Digest, and the 2013 Guide to Literary Agents edited by Chuck Sambuchino. All can be found on Amazon. For convenience, editors and agencies are presented by genre.

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.

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.

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.

Align the inner address against the left margin. Always spell the agent/editor’s name correctly and use his proper title.

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.

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.

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.

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.

The following is my idea of how L. Frank Baum might query the Acme Agency if he was looking for a home for The Wizard of Oz today:

 L. Frank Baum

1 Writers Lane

Kansas City, Kansas

L.F.Baum555@searchengine,com

www.L.FrankBaum,com

 

C.C. Smith

Acquisitions Editor
Acme Agency
121212 Park Place #4
New York, New York

February 28, 2013

Dear Mr. Smith,  (Note: Double check the title and spelling)

Your client John Rabowski recommended that I query you about my 60,000-word fantasy novel The Wizard of Oz. It is the story of Dorothy Gale, an unhappy Kansas farm girl who learns there is no place like home.

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?

Having grown-up in Kansas 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 The Story Teller Magazine and Knights and Dragons. I am on Face Book, have 3,500 Twitter followers, and receive 5,000 hits per month on my blog.

Thank you for your consideration. May I send a synopsis and sample chapters?

Yours truly,

L. Frank Baum

 

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

HOW TO CHOOSE A PLOT--Part One

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.

 Georgia punched in Jake’s number and waited while the phone buzzed.

“Yeah,” Jake said.

“You need to come home now.”

“I’m busy.”

“I’ve been waiting two hours.”

Silence.

“Okay,” Jake said. “I’m leaving now.”

The phone clicked in Georgia’s ear. She waited in the parking lot. (Story)

 

Georgia’s hand shook as she punched in Jake’s number. Her queasiness grew with each buzz.

“Yeah,” Jake growled.

She gulped, pressed the phone harder to her ear, and listened to the giggles in the background. “You need to come home now.”

“I’m busy.”

I bet you are. “I’ve been waiting two hours.”

Silence.

What are they doing?

“Okay,” Jake snapped. “I’m leaving now.”

The phone clicked in Georgia’s ear. Only a moment until they slither out the back way. She opened the car door and pulled the gun from her purse. (Plot)

 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

What in the World is an MRU?

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 Randy Ingermanson, creator of the Snowflake Method. He read about them in Dwight V. Swain’s classic. Techniques of the Selling Writer, which is available on Amazon.com.

 So what is a motivation-reaction-unit? An MRU is the fundamental grouping of words that form a story.

 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.

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.

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

 The soldiers assumed their posts. Commander Lucifer positioned himself on high ground opposite the wormhole, his generals at his sides.  [MOTIVATION]

 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.   [REACTION]

 The wormhole rumbled, and Lucifer raised his hands.   [MOTIVATION]

 Malum’s swords shook. Steady. Only moments until Lucifer signals to attack. [REACTION]

 A low whine grumbled in the passage.  [MOTIVATION]

 Malum tightened his grips.   [REACTION]

 The noise rose in pitch and volume. The tunnel’s crystalline walls vibrated.  [MOTIVATION]

 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?  [REACTION]

 Fire roared from the wormhole and incinerated several soldiers. The tunnel warped. Squealed. Folded inward. In a blink, it disappeared.  [MOTIVATION]

 Malum cursed, and turned his attention to Lucifer.  [REACTION]

 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.  [MOTIVATION]

 His hearts lurched.  [REACTION]

 

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

CONTEST

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. Children’s Writer 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 North America. First prize will be $500; second will be $250; and third, fourth, and fifth will be $100. Submissions are due by July 12, 2013 and prizes will ne awarded by October, 2013.

Entries need to be fictional, their topic exploration, and they cannot exceed 150 words. 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.

Pay careful attention to the contest’s submission standards, especially to word length. They may be accessed at Children’s Writer by clicking on Guidelines in the sidebar—Quinn

Writing the True Story

I trust you and your family are making many precious memories this holiday season. Preserve them. Keep a journal. This will be a valuable legacy for your children and grandchildren. If you desire to share your experiences with a wider audience, maybe you’ll consider writing an article for a magazine.

Articles differ from short stories in that they are true and answer the questions: who, what, when, where, why, how, and what’s the significance. However, in the last couple decades many publishers have preferred stories that contain more than just fact. They want pieces that incorporate techniques used in fiction. That is, they prefer submissions that employ story, as Jesus did when he used parables to reach the heart as well as the mind.

In what is called true story, there is a sympathetic character who changes, usually for the better. In the beginning, he faces some basic problem (the beginning complication) that is significant to him. He responds by taking action. However, obstacles (the development or the middle) impede him and increase tension. Then he has a flash of insight on how to resolve the problem. The resolution (or end) involves a significant effort on his part that relieves tension and changes his character.

The first paragraph of a newspaper or magazine article written in the journalistic mode might sound like this:

Last night (when) at his London townhouse (where), Mr. Ebenezer Scrooge (who), the reclusive millionaire, received visits from three ghosts (what) that came to impart (why) the spirit of Christmas to him by showing him (how) his past, present, and future. It is alleged that he now keeps Christmas in his heart (the significance).

Matter-of-fact paragraphs would follow, ending with a summation paragraph. The article would convey all the pertinent information by telling, but showing, which was explained in my blog of 11/16/12, would make a dry series of events come alive.

In the beginning, Dickens did not say Scrooge was a curmudgeon. He demonstrated it with his “Bah, humbug!” and his impatience with people displaying Christmas cheer. His shivering, underpaid clerk and his refusal to help orphans showed his miserliness. The plot develops as spirits show him scenes from his life where his choices changed him from a lonely boy to a man who substituted gold for love, resulting in a grave where he lies friendless and un-mourned. We feel the sadness of Scrooge’s situation when he locks everyone out of his rooms and sits in the gloom eating only gruel. Dickens contrasted that with the young people’s happiness, joy, and sharing, seen in their laughter, dancing, and toasts at sumptuous feasts. After Scrooge has his transformation, we have our hearts melted by Tiny Tim’s “God bless us, every one.”

As a homeschool mom, you have a plethora of treasured stories. If you care to share one, develop it as a true story, employing techniques used in fiction. Many magazines include Christmas stories in their holiday editions. You may find a market that fits by using Sally E. Stuart’s Christian Writers’ Market Guide or the Writer’s Digest’s Writer’s Market. Both can be found at Amazon.com. Another way to reach a publisher is by finding a magazine that interests you and looking for its submission guidelines at the beginning or the end of the publication, usually in the fine print.—Quinn

The Harbinger

My purpose for this blog is to encourage moms who, after years of intense involvement, are faced with empty nests. Suddenly their homes, which were teeming with activity, are quiet and orderly. Depressing? Not for a writer. And many home school “graduates” should consider becoming a writer. They have advice and many rich experiences to share, if not with the world then definitely with their children and grandchildren. Craft techniques learned here and from recommended books and websites can improve their skills and increase the likelihood of seeing their words in print.

I’ll try to stay on topic. However, from time to time I’ll divert to something I find important. A book on the N.Y. Times best seller list is one such thing. The Harbinger by Rabbi Jonathan Cahn tells of an ancient warning for Israel recorded in Isaiah 9:10 that hair-raisingly parallels all that has happened to America since 911. It is available on DVD, so it can be shown in churches and Sunday Schools.--Quinn

Remember to Whom We Give Thanks

In the midst of preparations let us, like our forefathers, remember the One to whom thanks are due not only on Thanksgiving but each day and every hour. The following is Washington’s proclamation for a day of Thanksgiving to our Maker.

WHEREAS it is the duty of all nations to acknowledge the providence of Almighty God, to obey His will, to be grateful for His benefits, and humbly to implore His protection and favour; and Whereas both Houses of Congress have, by their joint committee, requested me "to recommend to the people of the United States a DAY OF PUBLICK THANKSGIVING and PRAYER, to be observed by acknowledging with grateful hearts the many and signal favors of Almighty God, especially by affording them an opportunity peaceably to establish a form of government for their safety and happiness:"

NOW THEREFORE, I do recommend and assign THURSDAY, the TWENTY-SIXTH DAY of NOVEMBER next, to be devoted by the people of these States to the service of that great and glorious Being who is the beneficent author of all the good that was, that is, or that will be; that we may then all unite in rendering unto Him our sincere and humble thanks for His kind care and protection of the people of this country previous to their becoming a nation; for the signal and manifold mercies and the favorable interpositions of His providence in the course and conclusion of the late war; for the great degree of tranquility, union, and plenty which we have since enjoyed;-- for the peaceable and rational manner in which we have been enable to establish Constitutions of government for our safety and happiness, and particularly the national one now lately instituted;-- for the civil and religious liberty with which we are blessed, and the means we have of acquiring and diffusing useful knowledge;-- and, in general, for all the great and various favours which He has been pleased to confer upon us.
And also, that we may then unite in most humbly offering our prayers and supplications to the great Lord and Ruler of Nations and beseech Him to pardon our national and other transgressions;-- to enable us all, whether in publick or private stations, to perform our several and relative duties properly and punctually; to render our National Government a blessing to all the people by constantly being a Government of wise, just, and constitutional laws, discreetly and faithfully executed and obeyed; to protect and guide all sovereigns and nations (especially such as have shewn kindness unto us); and to bless them with good governments, peace, and concord; to promote the knowledge and practice of true religion and virtue, and the increase of science among them and us; and, generally to grant unto all mankind such a degree of temporal prosperity as he alone knows to be best.

GIVEN under my hand, at the city of New-York, the third day of October, in the year of our Lord, one thousand seven hundred and eighty-nine.

(signed) G. Washington

Make Your Story Seem Real

We have covered some of the basics of character development, so let’s look at writing your story. The cardinal rule is Show Don’t Tell. It is easiest to explain with an example. The following scene is from a work in progress, the sequel to my novel Kokoweef. Physics assistant professor Dr. Nightingale Nox, a Savant, was mugged. The main character, Skip Jackson, scared off the attacker and took Night to the hospital. The following is the scene as it would appear if it was told.

After Skip gave a report to the policeman, he left Bethany and Sarah in the waiting room, and intercepted the ER doctor. The doctor told Skip that Night was in no danger, his wound had been stitched, and he would be released as soon as his guardian arrived. Night, however, was convinced he was dying, and Skip could not convince him otherwise.

Now I will show the scene.

Skip finished reciting his account of the assault to a policeman, left Bethany and Sarah sitting on the waiting room chairs, and hurried to intercept the ER doctor. “How’s Night doing, doctor?”

The man consulted his clipboard. “Are you Mr. Nox’s guardian?”

“No, I’m Skip Jackson. I rescued Night from the attacker. I called his guardian, and he should be here shortly.”

“Mr. Nox is in no danger. I stitched his wound. He appears a bit . . . disoriented. But that should pass quickly. I’ll release him to his guardian as soon as he gets here.”

Tension melted from Skip’s jaw muscles. He smiled. “Night’s always disoriented. He’s a high-functioning autistic Savant. He can tell you more than you’d like to know about string theory, Tesla, and space aliens, but everyday stuff.” He cleared his throat.

“I see. You can go in.” The doctor scribbled something on the chart and moved on to another cubical.

Skip ducked around the curtain surrounding Night’s gurney. “Hey, bro. How you feeling?’

“My head hurts. I’m going to die.”

“Not going to happen. Ask the doctor for something to stop the pain.”

“There was blood. Lot’s and lot’s of blood. You saw the blood. I’m going to die.”

Skip sighed. When the guy got an idea in his head, it was hard to shake it. “No, you’re not going to die. When your guardian gets here, you’re going home.”

“People don’t tell people when they’re going to die. I think they should tell people when they’re going to die. Don’t you think people should tell people when they’re going to die? Gramma said if I was good, I’d go to heaven. But, I’ve been so bad. I won’t go to heaven.” His face puckered. “I don’t want to die.”

Why can’t people stop scaring their kids with fairy tales about angels and devils, heaven and hell? “Night, stop it. You are not going to die. You’re going home.”

“When Gramma was dying, she said she was going home. But she never came, and I never saw her again.”

“If there is a heaven, I’m sure you’re going there. But, not for a long, long, long time.”

“But you would say that if the doctor told you I was dying.”

“He didn’t tell me you were dying. He said he was going to release you soon.”

Night’s face blanched. “Grampa said he was going to release old Smokey. Then he shot him.”

“You are not a horse.”

The professor began moaning soulful moans. “He took him behind the barn and shot him.”

“Night, you’re giving me a headache.”

There are instances in which telling is appropriate. Mainly it is used for summary or scene setting. But too much showing slows the action and takes the reader out of the story. As seen above, though showing the story takes more words it is richer and allows the reader to feel he is an inside observer.—Quinn

Giving Your Character a Personality

On October 10 and October 29, we talked about building your character’s background and giving him a unique voice. Now he needs a psychological make-up.

Knowledge of the character’s composite personality indicates how he will behave in different situations within the story. The writer should know the environments in which the character will feel comfortable and what circumstances are easy or a struggle for him. With this in mind, it is the writer’s job to reveal the character’s depth of personality as the story unfolds. By contrasting his inner life and his public life and giving him traits that contrast and collide with one another, an interesting, multi-faceted person emerges.

Jung identified two primary personality types, the Extrovert (E) and the Introvert (I). These designations have to do with the world in which one lives. The extrovert’s life is directed outward. He is out-going, assertive, energetic. His interests are in, and he receives gratification from, the outer world. He gets bored when alone. The introvert is reserved, quiet, shy. His interests lie in reflection and the inner self. He enjoys time alone and likes solitary activities.

There are also subcategories. Sensing (S) and Intuitive (N) describe how one gathers information. One who is sensing relies on the concrete and the practical. The intuitive person thinks of abstract possibilities, trusting intuition without facts. Thinking (T) and Feeling (F) have to do with decision making. The thinker is rational, logical, impartial, and fair in accordance with predefined rules. The feeler decides things case by case and is subjective based on his value system. Judging (J) and Perceiving (P) have to do with how we live. The judging person is neat, orderly, settled. The perceiving person is flexible, open-ended, and spontaneous.

Each individual personality consists of one of sixteen possible combinations of the secondary traits coupled with either introversion or extroversion. In various circumstances, one of the traits will be dominant, more proficient, and more conscious. It is supported by a second function then to a lesser degree a third. The fourth one is opposite to the dominant resulting in repression and unconscious behavior. Though uncomfortable with the fourth function, an individual can develop that trait.

In my novel Echoes, there is a character called Misty McKenna. When informed that her grandparents and her sister are ill, she immediately takes a leave of absence from her teaching position in another state and returns home to help her widowed mother cope. She takes over the household duties, the nurturing of her youngest brother, and is a fierce defender of the family. Analysis reveals that her personality type matches with the ISFJ combination, the Nurturer. People in this category are kind, quiet, conscientious, dependable, stable, practical, observant of others, perceptive of other’s feelings. They value security and tradition and are interested in serving others. They’re exactly like Misty.

I decided to analyze myself. I thought I matched best with the INTJ combination. People with this personality are independent, original, analytical, determined, turn theories into plans of action, value knowledge, competence, and structure. They are long-range thinkers and have high standards of performance for themselves and others (ask my long-suffering family.) They are natural leaders but will follow trusted people. This combination is called the Scientist. Interesting. My background is in chemistry.—Quinn

Your Character's Voice

Well, let’s get back to character development. What’s most fun for me is playing with voices. Each character should have a unique way of expressing himself. Train yourself to listen to people as they speak. Drawls and dialects tell you where they are from. Things like slanginess, crudeness, or formal English hint at social or educational level. Pet words, habitual expressions, and occupational jargon tell about background. Coldness, flippancy, cynicism are a few tones that betray thought patterns, attitudes, and personality. Your character will also use different voices with different people. He may be authoritative with employees or students, while at home he may speak lovingly to his wife and use baby talk with their toddler.

The following are excerpts from Black Sunday. You can access the whole story by clicking the Black Sunday tab up top. From Mrs. Pettigrew’s voice I don’t have to tell the reader she is elderly, from the Midwest, and not well-educated.—Quinn

. . . Town of Guthrie growed-up over night right near us. Got my schooling there. Learned to read and cipher. Ma looked so proud rocking by the fire, mending in her lap, while I read the Good Book to her. Learned all about how folks come to this land for freedom, too. Learned how all folks are important. So, even common folks like us, providing they work hard, can get to be president. Imagine that!

Life was good there in the old days, but Pa said he was feeling cramped. He sold out to Uncle Jed and bought two sections near Boise City. Put in wheat, sorghum, maize, and broom corn. Run a few head of cattle too. . . .

           

. . . Guess I was too big for my britches. I looked over the boys real good. Thought they was all pretty poor quality. But, all that changed one night.

First I seed of Franklin Pierce Pettigrew was at a box social at Preacher Pettigrew’s. He’d breezed in from Texas on horseback. And my! From his Stetson to his boots, he looked mighty fine. Had a sassy smile that shivered my heart. But, oh was he a wild one. Next day he come a calling without asking! Pa like to run him off the place. Didn’t see him again ‘til three months later at the church ice cream social. . . .

Now's as Good a Time as Any

I have completed my third novel, Kokoweef, and continue to polish it. In a couple weeks, it will be ready for pitching to an editor. I haven’t decided what my next project will be. So, to get some ideas, I shall play the ‘what if’ game.

In the ‘what if’ game, writers make lists of possible characters for a story. They decide on one. Then they write down a list of conflicts the character might face. They select one. Then they ask what if he encounters this particular problem? They write down the probable consequence. Then they ask what happens if there is a second complication? Then a third. A fourth. In a while, they have a pretty good feel for what their novels will be about.

In my posting on September 9, Do You Have an Article in Mind, I gave a brief description of story structure. A lot of writers prefer to start with the skeleton of a story then flesh it out. Others, called seat of the pantsers, find this method too restrictive. They just start writing and keep going until they are done. They arrive at the same structure as the planners, but it may take a lot of false starts and wrong turns to get there.

For a concise lesson on design, I recommend Randy Ingermanson’s article How to Write a Novel: The Snowflake Method. In it, he likens the process of story writing to the building of a snowflake. One begins with a sentence, builds a paragraph, and expands to a page then to a scene. When there are enough scenes, the writer has a story.

I have never attempted to “NaNo”, but I thought I’d try it this year. NaNo, or NaMoWriMo, stands for National Novel Writing Month. In this world wide program, writers of all levels are challenged to write 50,000 words in one month. There is help to plan and execute your project, and you can receive encouragement from staff, published authors, and writers from your area of the United States or of the world.

So fellow empty-nesters, if you are interested in finally writing that story that’s been buzzing around in your head for several years, now’s as good a time as any. Join me on my journey.—Quinn

What is Plot?

I’ve finished my 90,000-word novel Kokoweef. So, for the last couple of weeks, I’ve been working on a book proposal. The hard part of writing begins soon. Pitching to agents and editors.

Now that your nest is empty, you too may have dusted off that old dream of becoming a world-class novelist. But, you ask, where do I begin? With a plot and characters. These basic elements create the narrative, which consists of a beginning intent, a middle that contains a series of actions and reversals, and an end that is the logical outcome.

Let’s look at plot today. Plot isn’t the same as story. The story consists of a chronology of events. For example: She got up, grabbed some coffee, and caught the bus to work. This is all action, so it is story. Plot is the story, plus it answers the question why by using a pattern of actions and reactions. Example: Exhausted from cleaning offices all night, she overslept. She grabbed some coffee so the children could have the last of the cereal then rushed past her broken-down car to catch the bus to work. The story tells us about a woman that is late for work. Plot is revealed as we see a single mom struggling to provide for her family.

Basically, there are only two types of plots, either ones that address the physical or ones that address the mind. Physical plots are action driven and usually don’t answer any great moral or intellectual questions. They include adventure, mystery, thriller, western, sci fi. Those that address the mind are character driven. They explain ideas, human nature, relationships, beliefs, attitudes, and the search for meaning.

What fuels plot is tension. Tension in turn is created by opposition. As opposition grows, the tension grows until the narrative reaches a climax where there is some change to the main character.

Deciding on your plot is the first step in writing your novel. We’ll explore character next time.—Quinn