One of the Worst Writing Tips I've Heard

One of the more common writing tips I’ve heard throughout the years is to make sure the protagonist in my books is likable. This is particularly applicable to female protagonists. The consensus was that if readers don’t like her, they’re going to put the book down. So, I’ve worked hard to create at least somewhat likable characters over the years, albeit still flawed.

I’ve come to realize, though, that likability is a matter of reader taste, and to some degree, genre. I write mysteries, which offers a diverse spectrum from light cozies to noir thrillers. Generally, (and of course there are exceptions) cozy readers prefer a likable protagonist who isn’t an alcoholic or drug user. Thriller fans prefer a protagonist who doesn’t spend her afternoons drinking tea with a cat on her lap.

I write amateur sleuth mysteries, which incorporates dark and light worlds, so it can be a bit of a risk, as I might not please either group. Still, I feel compelled to write books and create character that are meaningful to me. All readers bring their experiences, biases, and preferences to the table when it comes to books, and that’s fine. The truth is that no writer will please everyone.

As a writer and a reader, a likeable character isn’t as important to me as a compelling and complex character with a an obstacle to climb or a mission to accomplish. It can be small or global, but it has to matter to the protagonist.

I came across an interesting a piece in Bookriot a few days ago, called ‘100 Must-Read Books With Unlikable Women’. The author argues that female characters are given short shrift by being labeled annoying, among other things. They aren’t allowed the same leeway that male protagonists are, and receive more complaints from readers for their un-likability. Hmm. She might have something there.

I browsed the list to see if there were any mysteries and sure enough, I found Gone Girl and Dark Places by Gillian Flynn. There were also quite a number of mainstream novels. I have to admit, I didn’t browse through the entire list, so I’m not sure if there are any fantasy or romance titles there.

But the author makes a good point: there are plenty of great novels featuring unlikable characters in terrific novels. Really, did you find Scarlett O’Hara likable? I sure didn’t, but this didn’t stop me from enjoying the story. In fact, Scarlett’s unlikability was crucial to the story’s success. So go ahead, write unlikable female characters, despite what some of those writing instructors tell you. Just ensure that you’ve got a memorable, compelling story to tell.

Debra

Novel Writing Tips and Techniques From Authors of Second Wind Publishing

Novel Writing Tips and Techniques from Authors of Second Wind Publishing is the 100th book published by Second Wind. I am thrilled to be a part of this extraordinary project.

 

"As someone who constantly evaluates novels for publication, I was astonished at the breadth and clarity of the wonderful advice contained in this handbook. It addresses concerns as grand as plot development and as simple but essential as formatting your submission. It offers crucial advice on literary topics ranging from character development to the description of action. Virtually every subject that is of great concern to publishers — and therefore to authors — is covered in this clear, humorous and enormously useful guide." --Mike Simpson, Chief Editor of Second Wind Publishing

Table of Contents

A Publisher's Top and Bottom Five: What We're Looking For vs. What We're Watching For by Mike Simpson
On Becoming an Author by Susan Surman
Finding Time to Write & Overcoming Writer’s Block by Mairead Walpole
Creating Incredible but Credible Characters by Pat Bertram
How to Begin and End a Story by Lazarus Barnhill
Plot Twists: Three Little Questions by Norm Brown
Points of View by Juliet Waldron
Moving Smoothly: Transitioning in Writing by Jan Linton (JJ Dare)
Captivating Settings by Deborah J Ledford
Foreshadowing by Nancy A Niles
Timing by Claire Collins
Don’t Keep Me Dangling by Sherrie Hansen
Sex SCENES not SEX Scenes by Pat Bertram
Film as Literary Influence on the Novel: How to Approach Scenes by Eric Wasserman
How Much Narrative is Too Much by J. Conrad Guest
A Jerk’s Guide to Comedy Writing by Noah Baird
The Challenges and Joys of Writing a Novel Series by Christine Husom
Creating a Believable Science-Fiction Environment by Dellani Oakes
Write it Right by Dellani Oakes
The Importance of Formatting by Deborah J Ledford
Writing Aids and Organizational Tools by Coco Ihle

Novel Writing Tips and Techniques is available from Second Wind Publishing, Amazon (Print & Kindle), Barnes and Noble (Nook), Smashwords (all ebook formats including palm devices)

Click here to Help Us Celebrate the Publication of Our 100th Book!!

Guest Post: GumboWriters interviews freelance editor John Paine

Hey, this is Cheryl here, bringing you a great interview full of valuable tips and information, compliments of my friends at GumboWriters.com. Today's interview is with freelance editor John Paine. I feel obligated to add that for some writers, having their work edited can be very "paine-ful" (sorry--it just had to be said), but professional editing is a necessary process that separates great works from mediocre. With that said, please check out the interview. ~ Cheryl Kaye Tardif

GumboWriters: John, you've been in the business for a long time. How did you get started and what is it exactly that you do?

John: Not surprisingly, I started as an aspiring young writer. I decided at age 30 that I really didn't have the talent to be great, and I moved to New York to get an editorial position in publishing. I rapidly rose through the ranks and created a unique position for myself as a manuscript editor, or a house doctor. That's because those years of writing gave me a good intuitive feel for what writers try to get done in their stories. For 20+ years I have been helping authors both with large-scale story structure and with line-by-line, intensive editing. Depending on the project, especially in the field of nonfiction, I have served as virtually a ghostwriter.

Tell us the difference between line editing, copy editing, development editing, and what would you say is your forte?

Actually, the ranking is developmental editing, line editing, and copy editing. Developmental editing consists of helping authors to direct their characters and their plots to become stronger. I usually write page-specific notes that amount to roughly 15-20 pages, giving suggestions for new scenes, what scenes might be cut for better pacing, where more character background might be inserted, and which scenes might be moved around for a solid, building story. Line editing is what it sounds like: using a pencil line by line to prune and add to an author's text so that every sentence is crisp, using action verbs and effective sentence stem-dependent clause structure. As a former writer, I often write in phrases, sentences, or paragraphs to make sure the scene doesn't turn in unexpected directions that lose the reader. Copy editing is much more minor, consisting of a grammar, spelling, and punctuation check. A good copy editor will also help with sentence smoothness.

Why should a non-fiction editor write a book proposal first? And is that something you can help them with?

Today 95% of nonfiction books are sold through proposals. These are selling documents that give an outline of why an editor should buy the book. They come in pieces that are fairly standard, although proposals do not follow a strict template. They should contain an opening overview roughly 3-5 pages long that should capture an editor's attention right away. An author bio section is necessary, because most nonfiction authors are also speakers or have media contacts that will help sell the book. A competition section, with five or so competing books, lets the editor know (1) there is a market for your book and (2) why your book is different from what's out there. A section that contains a summary of each chapter is a vital part, because that's where you can show what the book will actually contain. Finally, 1-3 sample chapters are provided to provide a glimpse of your style, since a vast difference exists between a popular self-help book and a serious academic work. And yes, I do write (and sell) proposals regularly, as you might have been able to guess by now.

Why should writers work with you when they have thousands of other choices? What makes you so special, John?

I think there are many good editors, at least the ones who have New York publishing experience or the equivalent. My own approach is to keep the author in the driver's seat as much as possible. That means using constructive criticism that is politic in making its points. I like being nice, and I seek a good rapport with an author. I think I give sound advice, both for large-scale plot issues and for character enhancements. I know I'm an excellent line editor, because that's how I established my reputation in the first place. Judging by now many authors come back to me for their later books, I believe I provide a service that genuinely helps them learn how to write books. Finally, a word of caution to authors: Beware of these guys hanging out on the Net; a lot of their backgrounds aren't even close to being acceptable. Everybody is a self-appointed critic in the world of writing, so look closely at their credentials.

Is there anything wrong with having an editor edit your work before you send it to an agent or an editor? Is that cheating?

Seeking help as a writer is a wise decision most of the time. Seeing the forest for the trees in a book is probably the most difficult decision-making area in the arts. There are just so many words. In my profession, what often happens is that a writer who uses me the first time experiences a marked learning curve, one that tapers off in the second and third books as he or she applies the structural/character-building methods that I have taught them. By the fifth or so book, if you've been paying attention, you don't need an editor anymore. I know for a fact that agents like authors who have shown true desire by hiring an editor before they make their submission.

Won't agents and editors be disappointed that you didn't come up with the brilliant manuscript by your own doing?

Publishing is a business, by and large. If you are the next Norman Mailer or Alice Munro, you aren't going to hire an editor anyway. You'll be making those editorial decisions yourself. But that includes less than 1% of all writers. If you're writing for the popular market, an agent or editor is less worried about your artistry than your ability to keep readers on the edge of their seat.

Are there any famous or successful authors who work with editors before submitting their work to their agents or editors?

The more famous the author, the less editing he or she will accept. You could call it the diva equation. That's not to say they wouldn't benefit by editorial help, but they're fawned upon by their publishers, and they're making millions, so why should they bother?

Who are some of the best-known authors you've worked with?

I have worked with dozens of well-known authors. Anyone who is interested can visit my website, johnpaine.com.

How many books or book proposals would you say you've worked on that have ended up being sold? And what are some of your favorites (i.e., most well-known)?

Every year I help roughly 10 authors sell their books. I also work for publishers, so that number is doubled, in terms of published books I edit annually. I take a lot of pride in what I do, and I don't work on books that I don't think have a chance of being published. This summer, on the fiction side, I helped a debut author sell his psychological thriller, and that gave me a great deal of satisfaction, because he is so talented. On the nonfiction side, I helped turn a doctoral thesis into a history book that was bought by Harvard University Press, and that also was a challenge that gave me a great deal of pleasure.

How much do you charge for your services? Will authors have to re-mortgage their house to pay for it? Do you take payments?

It depends on the book. A ballpark figure is $10 per double-spaced manuscript page. I work in phases anyway, so a payment system is already built in. I'll charge for the read and initial editorial letter; then a retainer; the developmental edit; and the line edit. I will work out a payment schedule if needed, but obviously I'd prefer that the invoices be paid in full.

If we're interested in using your services, what is the first step and how does the process work?

The first step is to visit my website: johnpaine.com. That serves as my resume, so an author can check my credentials. The last page on the site has a contact sheet. I ask that an author send a 1-2 page synopsis plus 25 pages of the book so that I can evaluate whether he or she really should be spending money on me. I then call the author for a preliminary discussion of the book, plus my editing procedures, fees, timing, etc., at no cost. If the author decides to go ahead, the first step is my reading the entire manuscript and then a phone call to discuss which directions the editing might take, followed by a written editorial report. Along with that is an estimate for the entire edit, with fixed maximums for the different stages of editing.

Article provided by www.GumboWriters.com

Writers: Learn about 'The Four Firsts and Chapter Hooks'

In fiction, suspense and foreshadowing create mood, tension and the desire for a reader to read more. You can do this, by using the Four Firsts rule and by using Chapter Hooks...

Read the article on The Four Firsts and Chapter Hooks.

~Cheryl Kaye Tardif, author of Whale Song, The River and Divine Intervention

Tips for Plotting Your Novel – Part 2: Ferment the Plot

In Part 1 I talked about percolating a novel plot, coming up with the ‘bubbles’, the ideas that form the skeleton of your plot. To write an engaging novel, you have to dig far deeper. That’s what fermenting helps you do.

What do you think of when you see the word FERMENT? Picture a vat filled with young wine; it needs time to soak in all the subtle flavors that will make it distinct and delicious. A novel needs time―and more importantly, deep thought―to gather in all the richness that will make it a novel worth reading.

One thing I’ve learned as a writer is this: thinking is underrated. We’re so programmed to be active and busy, that we forget that pausing every now and then actually allows us to process more information. To the human brain, writing a novel is a huge ‘information dump’; we need that pause to acknowledge our ideas, then sift through all of them to find the precious gems that will become our plot, characters, setting, and ultimately a bestselling novel (we hope).

During the fermentation stage, I’ll think more about the characters, one character and one question at a time until I have a solid answer for each. Who is she? What are her strengths and weaknesses? What is her goal? What suspenseful challenges will she face? What relationships are found or lost? Who is she up against and why? How does she proceed in the investigation or journey or quest? How does she finally reach her goal? What scene most comes to mind when it’s time for the final chapter or epilogue?

Often at the fermentation stage I’ve already started writing the actual novel. At different times throughout, I’ll pause and have what appears to be a break. But really I’m fermenting my novel plot. Someone watching me might think I’ve fallen asleep with my eyes open and head upright. You may even see the occasional wisp of smoke from my ears, or I might talk out loud or nod. I’m sure I must look weird when I do this at my favorite Starbucks, but each time I ferment my plot, the dialogue, action and characters grow stronger and deeper.

The next time you decide to write a novel, think about percolating and fermenting your plot. When I clicked on the word “percolate” and went to the synonym check in MS Word, the following words came up: seep into, infiltrate, permeate, penetrate, get into, infect, drip, filter. I think they perfectly describe what we need to do to create an engaging plot.

So percolate an idea. Let it seep into your mind and infiltrate your thoughts. As these ideas permeate your daily routine, they’ll penetrate further into your mind so you won’t forget them. They’ll get into your blood, infect you, until you can’t wait to sit down at the computer. The key then is to allow the thoughts to drip, one at a time, from your mind to the keyboard, so that in the end you become a filter and the perfect novel plot will finally emerge.

©2008 Cheryl Kaye Tardif

~Cheryl Kaye Tardif is a bestselling author of 3 Canadian suspense novels (Whale Song (published by award-winning Kunati Books), The River and Divine Intervention). She is also a freelance journalist and popular speaker at writers groups, conferences and book clubs. Her specialty topics are: book publishing options; book marketing (online and offline) and writing advice. Cheryl currently resides in Edmonton, Alberta, Canada.

Visit her website: http://www.cherylktardif.com, or her blog: http://www.cherylktardif.blogspot.com

Tips for Plotting Your Novel - Part 1: Percolate Your Ideas

Fiction authors are often asked, “How do you come up with your novel plots? Where do you find those ideas?” As a Canadian suspense author, I am often asked these questions, and my answers will usually include something about letting ideas percolate and ferment.

I know―it sounds like I’m brewing coffee and making homemade wine, but in reality I’m creating what I hope will be a fast-paced suspense novel that will be enjoyed by readers worldwide. I think that percolating a novel plot is the perfect way to describe how my mind processes information that will eventually end up in a novel.

What do you think of when you see the word PERCOLATE? Do you picture a stove-top percolator brewing some strong coffee? That’s how I think of writing a novel. Basically the percolation method, in relation to writing, means that I will think on an idea until it begins to take hold. Then I’ll think about other ideas and just allow the ideas to bubble to the surface, until I have the skeleton of my novel plot.

Most often I’m thinking of everything from the perpetrator’s mind. How does he commit his crimes? Who are his victims? Why does he choose them? What’s his motive? Who else might be a suspect? How can I mislead my audience? How does he finally get caught?

After I have the percolating part, I’ll make just a few notes. Sometimes, I’ll open a file on my computer and write a prologue or first chapter. Once I start thinking of the basis for the novel, I’ll almost always have a scene come to mind that usually throws the reader into some kind of action. I like doing that; throwing you into something unexpected in the first few pages.

Not every writer will plot a novel like I do. Many will use an outline; they’ll often write it out first, thinking of ideas as they go. Some authors won’t start writing until they have a completed outline. I’ve tried working this way, but it doesn’t work for me. So I use the percolation method.
As you think about the novel you want to write, ask yourself: who is the story is really about and what is the story about (in 30 words or less)? Don’t worry if you don’t have all the details yet. That’s what fermenting is for. You can read about that in Part 2, coming up on August 3rd.

©2008 Cheryl Kaye Tardif

~Cheryl Kaye Tardif is a bestselling author of 3 Canadian suspense novels (Whale Song (published by award-winning Kunati Books), The River and Divine Intervention). She is also a freelance journalist and popular speaker at writers groups, conferences and book clubs. Her specialty topics are: book publishing options; book marketing (online and offline) and writing advice. Cheryl currently resides in Edmonton, Alberta, Canada.

Visit her website: http://www.cherylktardif.com, or her blog: http://www.cherylktardif.blogspot.com