GETTING STARTED

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.

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.

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.

A thesaurus is a must. I use Oxford American Writer’s Thesaurus. It assists with word choice and explains differences in meaning between similar words.

A couple classics are Elements of Style by William Strunk, Jr. and E.B. White and Self-Editing for Fiction Writers by Renni Browne and Dave King. Elements teaches one to write with simplicity and orderliness. Self-Editing introduces editing techniques used by professionals.

The best comprehensive book I’ve come across is Dwight V. Swain’s Techniques of the Selling Writer. It demonstrates how to group words into scenes and scenes into stories.

My favorite newer book is The Art of War for Writers by James Scott Bell. It gives a battle plan for writing a novel, covering tactics and strategies for developing, finishing, and publishing a story,

I found all these books at my local bookstore. They are also available through Amazon.—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.—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

HOW TO WRITE ROMANCE--Plot Part 5

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.

 

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.

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.

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.

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.

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.—Quinn

HOW TO WRITE THE CHASE--Plot Part Four

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.

 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.

 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.

 Part three is the resolution. Here, the pursued is either caught or he escapes, relieving tension.

 The Fugitive 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.

 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.

 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.

 Moby-Dick is an example of a Chase plot. Ahab hunts the whale. In Les Miserables, Javert tries to recapture Jean Valjean. Sherlock Holmes seeks Moriarity. And in Master and Commander, Aubrey pursues French merchant ships. Next time we will look at Romance—Quinn   

HOW TO WRITE THE QUEST--Plot Part Two

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.

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.

The Wizard of Oz presents Dorothy as an unhappy Kansas 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.

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.

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 Yellow Brick Road to the City of Oz where a powerful wizard might help her find a way back to Kansas. 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.

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.

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 Kansas with a new attitude. She now believes true happiness is found in one’s own backyard.

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

HOW TO PORTRAY EMOTIONS--BODY LANGUAGE

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.

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.

A man bumped into him.

Big Spike Malone, the Bull Dog’s errand boy. They know I have the merchandise.

Mac prepared to fight.

 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.

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.

A man bumped his shoulder. Hard. Then stopped.

 Mac cocked one eyebrow, spun around, and, looking up at the man’s Adam’s Apple, gulped. Big Spike Malone. The Bull Dog’s errand boy. They know I have the merchandise.

 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.

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.

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.

HOW TO PORTRAY EMOTIONS--INNER DIALOGUE

In 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.

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.

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.

The following is an excerpt from my novel Echoes. 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 California. 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.

A purring engine approached. Tires skidded on the gravel, and a dusty GMC truck crunched to a stop by the barn.

“Hey, Alejandro.” Dr. Crossman jumped from the cab, agile as a man half his eighty-five years.

Alejandro leaned on the axe handle and nodded.

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 Normandy.”

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. He’d have to be more careful. Keep quiet. Never do anything memorable. Never attract attention in any way. [he’s impatient with himself and reveals he’s hiding who he is]

“I’m heading down for a load of hay,” Crossman said. “If you’re interested in helping out, hop in.”

Alejandro stepped to the passenger door and glanced over his shoulder. A delivery truck had turned into the nursery’s driveway. It could be hauling anything. Plants. Guns. Fertilizer for manufacturing explosives. [shows he’s curious]

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. The old man was insane. [shows fear]

“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.

Alejandro flinched and grabbed his armrest. “No, señor.” But he might become one soon. [fear for his safety is mounting]

“Where ya from?”

“Here, now.”

“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.”

Alejandro shrugged.

“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.”

Alejandro kept his eyes straight ahead. He didn’t need help—except for surviving this trip. He knew his destiny. It involved putting a bullet in Esteban’s greasy face. [he is determined, fantasizes, and reveals more of his dark mission]

“Ya got a Green Card?”

“Sí.”

“How about a driver’s license?”

“Sí.” Both courtesy of Vito’s counterfeiters. [He’s thankful to his handlers and reveals more of who he is]

“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?”

Alejandro grinned. “Sí, señor.” What could be better? A twenty-four-hour-a-day view of the nursery. [he’s delighted at his mission’s progress]


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

 

HOW TO PORTRAY EMOTIONS--THE VISCERAL REACTION

In 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.

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.

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.

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.

Ways to portray visceral reactions are with involuntary internal and physical reactions. Here are a few:

 Emotion                         Visceral Response

 Anger            Internal: body tense, heart pounding, face flushing

                       Physical: noisy breathing, protruding eyes, veins that pulse

 Fear               Internal: speechless, weak leg joints, rapid heartb
                       Physical: frozen to a spot, shaking, hair standing on end

 Love              Internal: flutters in stomach, tongue-tied, heart hammering

                       Physical: brightening, euphoria, nervousness

 Sympathy      Internal: ache in throat, emotionally strained
                       Physical: sad countenance, deep sighs, crying

 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.

The second phase of an emotional response is thought. Next time we’ll investigate internal dialogue.—Quinn

HOW TO PORTRAY EMOTIONS

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.

            1.  She felt happy that Tim had returned.
            2.  He was annoyed since Tim was late.
            3.  He was angry that Tim showed up.
            4.  She was frightened that Tim found her.

 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.

            1. “Tim. It’s wonderful to see you.”     (happy)

            2.  “It’s about time, Tim.”                     (annoyed)
            3.  “Tim, how did you get in here?”      (angry)
            4.  “It’s Tim. Hide.”                               (frightened)

 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.

            1. Warmth washed over her face. “Tim. It’s wonderful to see you.”

            2.  His jaw tightened. “It’s about time, Tim.”
            3.  He ground his teeth. “Tim, how did you get in here?”
            4.  Time seemed to stop. “It’s Tim. Hide.”

 Now we’re getting their primitive reactions to Tim. Let’s add their thoughts.

            1. Warmth washed over her face. “Tim. It’s wonderful to see you.” My goodness. How handsome he’s grown. And no ring.                 

            2.  His jaw tightened. “It’s about time, Tim.” Moron. The clients have been twiddling their thumbs half the morning.
            3.  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.
            4.  Time seemed to stop. “It’s Tim. Hide.” He said he’d find us. He said he’d kill us.

 We know exactly how the characters feel about Tim and why. Now we understand their motives and participate vicariously in their actions.

           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?”               

            2.  His jaw tightened. “It’s about time, Tim.” Moron. The clients have been twiddling their thumbs half the morning. He grabbed Tim’s arm and dragged him toward the boardroom
            3.  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.
            4.  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.

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

 

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

Writing for Children-Part Three Non-Fiction

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.

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.

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.

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.

The following describes several of the categories you can choose from if you decide to write non-fiction. Biographies 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. How to and activity books use illustrations and materials lists along with step-by-step instructions. Behind the scenes books show how things work or are produced. Holiday books may deal with origins, traditions, or folk tales. Games, crafts, and songs may be included. History books cover one era, event, or topic. Sports and adventure books are lively, action-packed, and present basic information while using pictures. Museum books are primarily visual. Filled with color pictures and artwork, their subjects are explained directly and concisely. Science books 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.

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

Children's Literature---Part Two Writing for Elementary Age Children

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.

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.

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.

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.

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.

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.

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.

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.

Next time we’ll look at non-fiction books for elementary children.—Quinn

Children's Literature--Part One Writing for the Preschooler

Perhaps the most difficult genre is children’s literature. This is because children are very literal and because there are constraints on vocabulary, age appropriateness, and word count. Also the theme must appeal to both the child and the adult who chooses his books.

Books for preschoolers are tightly structured. Typically, they are 24 or 32 pages long with four pages reserved for the title, copyright, dedications, and other information. Sometimes they run a little more or less, but they are always a multiple of eight. Word counts for picture books are less than 1,000 with less than 600 preferred. Picture storybooks are less than 2,000 words with 1,000-1,200 words preferred.

The word limitations make pacing very important. Each word on a page must move the story forward, provide action and variety, and at the same time flow well with the artwork. While benefitting from the illustrations, each story must stand on its own. Typically each book has 14 to 18 scenes with a single activity per scene. The genre comes in three categories: fiction, concept, and novelty books.

As with adult books, the fictional story must have a beginning, middle, and an end. At the outset, the main character, a child, is introduced along with some difficulty he must overcome. Story is conflict, so in the middle there must be three obstacles to overcome. Though the character tries and fails with the first one, he will get closer to his goal. The second obstacle is more difficult and the conflict more intense. The third obstacle is the most difficult and he almost fails. At the end, he both reaches his goal and has changed for the better in some way. While adults may have a role in him reaching the goal, he must be the one who conquers the problem.

The concept book can be fiction, following the above form, or non-fiction. It teaches an educational concept or suggests a way in which the child may overcome a childhood dilemma.

Novelty books can also be fiction or non-fiction. They use a gimmick such as seek-and-find, pop-ups, or lift-the-tabs in addition to story.

Stories appropriate for preschoolers include situations common to the child’s world, timely topics, diversity, and life passages. At this age, topics appealing to children must also appeal to parents. Adults tend to like stories that include nostalgia, relationships, and redeeming values.

In my next blog entry, I’ll discuss books for elementary and middle school children.—Quinn

First or Third?---Point of View

The holidays are behind us and you and your family have made a lot of memories. Many could make a good story. By the end of March, editors will have selected articles and stories for use in their 2013 holiday publications. So, now is the time to submit your work. If you are not ready for a magazine, consider newsletters, bulletins, or your local newspaper.

One of the first decisions to make before you start is which point of view to use in telling the story. The two most common are first person and third person. Each has advantages and disadvantages.

First person point of view feels most natural to the novice writer. It is simple and intimate, allowing the reader to see deep inside the point of view character’s thoughts. The story’s narrator is the main, or point of view, character. He refers to himself as I and usually tells the story in the past tense. He is part of the action, reveals his emotions and reasons for writing the story, and is aware of the audience. His voice reflects his background, education, and regional accent, not the author’s. An example is this snippet taken from Black Sunday, which may be viewed in its entirety by clicking the Black Sunday tab near the top of this page.

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.

Right now, the most popular point of view is third person, because it allows the reader to identify with the main character (MC). In third person, the narrator is an observer, not a character. The MC is referred to by name and the pronouns used are he or she. The reader has access to only the MC’s observations, thoughts, feelings, and memories. Though the story is told in past tense, it feels like the MC is experiencing everything in the present. The following is the Black Sunday snippet written in third person. It takes more words to tell the story, but the result is more immediate.

Caroline turned up her nose at the farm boys who were hanging over the fence railing and gawking at the girls. She flounced to a hay bale and sat with her back to them.

Mary Ann approached, handed her a frosty jelly jar filled with sweet tea, and sat next to her. “My, Caroline, seems you’ve caught the eye of half the young men in Guthrie.

Caroline tossed her curls. “I pay those chewing, spitting, hawg callers no never mind.”

“Hmm.” Mary Ann gave her a sly look. “I ‘spect you’ve got your bonnet set for one of those big-city boys. Wonder who.”

Caroline’s cheeks burned.

Yip! Yip! Ye, haw!

A cowboy on a black stallion galloped over the hill. The horse skirted the grassy area around the parsonage, kicking dust on the guests who lounged on the lawn with their suppers.

The pastor’s wife coughed and dusted her dress. “Franklin Pierce Pettigrew, you stop that showing off right now, or I’ll take a stick to you.”

The young man drew the horse up short and jumped from the saddle. “Aw, you talk so mean to your favorite nephew.”

He grabbed her, kissed her cheek, and swung her off her feet.

“Put me down, fool. I’m getting all dizzy.”

Franklin set her down. As his gaze fixed on Caroline, his sassy grin widened and his eyes grew bolder. He whipped off his Stetson and made a sweeping bow. “Howdy, ma’am.”

Caroline’s heart shivered. Unable to respond, she held her breath. This brash young cowboy was quite the finest man in all the territory.

Which point of view should you use? That depends on what “feels right” for your story and what you want to accomplish. First person feels more factual. The narrator is presenting the story and he and the reader are aware of each other. He can digress, make comments, maintain a comic distance. In third person, the reader can immerse himself in the story world and the lives of the characters. It feels natural and the narration is not distracting.

Now’s the time to write that story. If it’s not ready for publication, it still can delight your family and friends.—Quinn