St. Joseph’s Indian School

 

 

For a couple of years now, I feel as though I have adopted many children just by sending them cards, letters, and sometimes gifts. I love them. It is the most wonderful thing in the world to do. I hope that anyone interested would consider these beautiful Lokota Indian children by sending them a card, a letter and/or a small donation or gift. Anything at all would make a difference in their lives. They have already lost so much that is breaks my heart and so giving just a little love, joy, and care helps them so much.

Native American (Lakota) Culture

Culture is defined as the established beliefs, social norms, customs and traditions of a group of people. The same is true for Native American culture. Factors like geography, history and generations of spirituality, stories and traditions also shape the culture of any given tribe or people. Native Americans are no exception.

Here at St. Joseph’s Indian School, we have had the privilege of working with Native American families and communities since 1927. In 1991, the Akta Lakota Museum & Cultural Center was established on our campus to honor and preserve the historical artifacts and contemporary art that tell the story of the Lakota (Sioux) people of the Northern Plains.

Native American culture is sometimes thought of as a thing of the past. However, contemporary powwows, art and language revitalization efforts make a real difference in their lives as their traditional identity.

How to Balance Character and Action!

How to Balance Character and Action  by Julie Hyzy

Characters, whether sympathetic or despicable, are the fuel that keep a plot moving. I’m sure you’ve heard many writers—whether plotters or pantsers—compare writing a novel to taking a trip.

Characters are fuel

Whether they start with a detailed road map or simply with an idea and a general direction, writing is likened to driving from one place to another with stops at interesting sites along the way. While that’s a fine analogy, allow me to offer an addendum: Drivers/authors aren’t going to get far without fuel. Compelling characters are what provide the power to keep a story moving. Without them, readers won’t feel an urge to join the journey. In that unfortunate case, even the most exquisitely devised route—with all its fascinating must-see attractions—may never be fully explored. Put another way: Until a reader is emotionally invested in a character, any actions in support of or against that character’s well-being fall flat.

A guy and a truck

Allow me to offer a very basic example: In an opening scene a guy gets run over by a truck.Let’s say the author manages to incorporate a measure of suspense into the story. Our unlucky guy—staring at his cell phone—steps onto the street as a truck barrels around the corner.

A talented author may do a phenomenal job of drawing out the seconds before impact with descriptions of the man, the truck, weather conditions, and time of day. This same author, knowing that details are key to believability, may work hard to depict an accurate accident scene, using, say, three pages of exposition to illustrate the horrific destruction.

After the collision occurs and the guy has been smashed to bits, readers may keep turning pages if they wonder why this guy’s death was important or why the truck didn’t stop. But unless this story comes from a trusted author, readers will only keep turning pages if they care.

In the example above: Do you feel any sadness at the street-crosser’s demise? Do you feel anything at all?

Probably not. It’s hard to truly care about the dead pedestrian yet because we readers know nothing about him yet.

But what if there’s more?  Let’s back up a little.

What if, moments before the poor fellow steps onto the street, he’s on the phone with his pregnant wife who called to tell him she’s gone into labor, that there’s blood everywhere, that she’s called an ambulance? Worried for her and their child, he steps up his pace and swears he’ll meet her at the hospital soon. His car is on the next block. He looks up from his phone to face the oncoming truck.

Now, how do we feel about this character?

While the example above is no one’s idea of a brilliant opener, I’d suggest that the second approach—the one where we learn a little about our soon-to-be-deceased’s family life—provides enough characterization, both for him and for her, to provoke an emotional reaction from the reader. And it does so without slowing the action. I’d argue the characterization adds to it.

In this imaginary tale, if the next scene shifts to the wife at the hospital, we’re immediately invested in her welfare and that of the baby. She’s unaware of her husband’s death but we readers know that the news will be hitting her soon.

That kind of tension—knowing that at any moment her world will come crashing down—is what keeps us turning pages.

Along the way, while the wife shifts from angry to worried, we also learn more about her character. And again, the action hasn’t slowed down one bit.

Conversely, if this same story started with the guy waking up in the morning, taking a shower, going to work, thinking about the baby and having that trigger a memory of his own childhood and playing on the swings and running with his dog, and, and, and… (see also: no action), only the most determined of readers will make it past chapter one.

How can writers effectively balance characterization and action, then, in a way that captivates readers and keeps them engrossed into the wee hours of the night?

Action is the accelerator, but characters provide the power!

According to the title of Christopher Booker’s oft-quoted tome, there exist only seven basic plots. Even if Booker’s estimate is off by several dozen, that still leaves millions of books per story line out there. Whether the story is tragic, comic, follows a protagonist on a quest, or one of the other plots Booker describes, what sets a tale apart is its cast of characters.

Because I believe this so firmly, I subscribe to this notion: While action moves a story forward, it’s the characters that truly drive the plot.

Action is key, and not only in crime fiction. To extend our take-a-trip analogy, action as the accelerator—we step on the gas if we want to get anywhere. When we exert pressure on the gas, our speed increases, just as action pumps a reader’s adrenaline to get those pages turning even faster. As our speed increases, however, we use more fuel. And that’s when we must rely on character power.

While it may seem counter-intuitive, taking time for character internalization during an exciting action scene can serve to intensify your reader’s experience. I’m not talking about slowing the action with a detailed flashback. Slowing the action is not our goal. But taking the time to include a sentence or two—perhaps a mere phrase—not only keeps your reader grounded, it has the potential to deliver buckets of delight.

In a key scene near the end of my new book, Virtual Sabotage, protagonist Kenna Ward doesn’t know if certain individuals in a virtual reality scenario are real or simulations. As she fights for her life, she takes precious seconds to evaluate and then re-evaluate whether to fight for their lives as well. These quick moments bringing the scene’s characters into sharper focus also serve to intensify the action.

Soul-searching

Another concern when balancing characterization and action is keeping your character’s soul in mind. Would he or she take the steps you need them to? Would he or she react the way the plot requires them to? If not, the story won’t work. Characters must follow the rules of their own souls. Plots can change on a whim.

Remember that your characters are always right—about themselves, that is. Try to figure out why they refuse to behave the way you need them to. Is it because you haven’t laid the proper groundwork for this behavior? You haven’t explored a dimension of their personality that a certain action depends on? Maybe that means rewriting a prior scene.

While there are few absolutes in writing, I will defend this as one of them:

Do not ever force your characters to do something against their will.

To clarify: I’m not suggesting that characters can never be encouraged to act against their wills. Putting a gun to your protagonist’s head often serves as ample encouragement. What I’m advocating against is forcing behaviors that don’t make sense and that your characters balk at performing. When an author forces such action from his or her characters, it shows. That author loses credibility. And readers.

Action vs. activity

Don’t confuse action with activity. Action propels the story forward. Activity describes what’s going on. And while well-placed activity can set the groundwork for action (think of the phobias and OCD tendencies of detective Adrian Monk, brought to life by the actor Tony Shalhoub on the TV series, Monk), activity for activity’s sake (filler) risks putting your reader to sleep.

Some of the best examples I’ve found that balance characterization and action come from the late, great Sue Grafton. In her excellent alphabet series, scenes are presented to the reader through Kinsey Millhone’s personal filter. Every one of Kinsey’s wry observations not only delivers sharp detail, it allows us to peer into her soul as well. Pick up a Grafton book to see what I’m talking about. The stories move at such a quick clip you almost don’t realize how well you’ve gotten to know Kinsey along the way.

There are so many complexities about balancing character and action that I’d love to have an afternoon of conversation to dig even deeper into what works, what doesn’t, and why. Next conference, let’s chat! Or let’s talk now on the Career Authors Facebook Page!

Julie Hyzy is the New York Times bestselling and Anthony Award-winning author of the standalone thriller, VIRTUAL SABOTAGE (October 23, 2018, Calexia Press), the White House Chef mystery series, the Manor of Murder mystery series and the Alex St. James mystery series

Suspense Writers: Here’s How to Keep Your Readers Up All Night

Suspense Writers: Here’s How to Keep Your Readers Up All Night  https://careerauthors.com/creating-suspense-in-fiction/

For many writers (and readers), “suspense” is a genre. However, it is also a key element in almost all fiction—if you want your readers to keep reading, that is. Tools for creating suspense belong in every writer’s toolkit because they help arouse expectation or uncertainty about what’s going to happen.

And that worry pulls readers deeper into your story, whether it’s a romance (will the woman find out about her boyfriend’s lies?), a thriller (will the hero find the terrorist in time?),  literary fiction (will the main character forgive her mother?) or any other genre.In an earlier article, Hank detailed some ways to increase emotional suspense for a novel’s characters. In a sense, all suspense is tied to eliciting emotions—anticipation, worry, fear, hope—in the reader.

You may find one or all of the below tips helpful in adding suspense to your novel, no matter where you’re at in the writing process, from drafting to the 14th revision.

Foreshadow

Plant clues early and often that something bad is going to happen. Readers will pick up on them and be worried on the protagonist’s behalf. You can do this for minor negative happenings (a radio report of a traffic jam, the protagonist must catch a flight, readers worry she’ll miss it), all the way to catastrophic ones (the main character is dropping things more often, he makes a doctor appointment,  the doctor runs tests, and all the while readers are on the edge of their seats wondering if he’s got ALS or is just klutzy). You can use foreshadowing many, many times per book, layering it in.

Ratchet up the stakes

In the miss-the-plane example, readers will feel concern only if the consequences of missing the plane are significant. Will she miss her best friend’s wedding, be late for an important job interview, not reach her father’s deathbed before he dies? Make the character’s goals clear from the get-go, and her reasons for wanting/needing to achieve them, and the stakes will come into focus. As the book progresses, the stakes should get higher (and you can—and should—foreshadow those early on, too).

Use surprise

If suspense is based on uncertainty, then predictability is the kiss of death. On occasion, when you foreshadow something negative, flip it around. Maybe the plane the character missed ends up hijacked, crashed, diverted to Islamabad, or parked on the runway for twelve hours. Surprise—she’s better off for having missed it! Maybe missing the plane forced her to turn to her ex-boyfriend with the pilot’s license to fly her to her best friend’s wedding, and they rekindle their romance. If you do something like this early on, the next time readers pick up on your foreshadowing, they won’t know what to expect and that will build suspense.

Take away your protagonist’s weapons, team, and defenses

Toward the end of many books, there is a climactic meeting between the protagonist and the main antagonist. For maximum suspense, the protagonist must meet his antagonist alone. This is why Dumbledore (and many another mentor in literature) had to die. When you strip the protagonist of her gun, her allies, and possibly her sanity (temporarily), you throw the outcome into doubt and that creates suspense.

Be creative when thinking about your character’s “weapons.” Yes, it could be an AR-15, a death ray, or a dragon, but it could also be professional respect, self-confidence born of a solid relationship, a logical mind, or other psychological element.

Use these techniques, and don’t feel bad that you’re keeping your readers up late at night, turning the pages to find out what happens in your books.

What authors do you think are good at building suspense? Have any tips of your own you want to share? Come tell us on Facebook.

LAURA DISILVERIO is the national best-selling and award-winning author of 21 (and counting) novels, including standalone suspense novels and several mystery series. Her teenagers coaxed her into writing a young adult novel, and the result is the dystopian Incubation Trilogy, an Amazon bestseller. She is a past President of Sisters in Crime and a frequent keynote speaker and teacher at writers conferences and events.

 

A Halloween Poem: The Witch of His Dreams!

THE WITCH OF HIS DREAMS

She comes to him at Midnight,

The Witch of his Dreams,

Her eyes a forest green,

Her hair, dark and long,

Her voice, a sweet magic,

Calling out his name,

He could not help but watch her,

Dance among the flowers,

Beneath a waxing moon,

She whirls and cast her spells,

Upon him,

A haunting chant she sings,

And soars into his soul,

On gossamer wings,

She whispers things he longs to hear,

Of secret longings in his ear,

She enchants him with delights,

Though she must fly into the night,

She tells him of her love,

And casts her spells upon him,

To love him evermore,

Though never shall she return,

For she was only ever,

The Witch of His Dreams.

Composed by K. D. Dowdall October 2017

Writing Books for Us and Them: Diversity for Writers, Readers, and Publishers

 

 

 

 

 

 

 

 

Economics of Diversity by Dana Isaacson

The big publishers release titles from across the political spectrum. While some of their imprints may have an ideological focus, many cross boundaries. Why are publishers so fair-minded? Well, it’s not exactly that: it makes economic sense for Macmillan to publish Michael Wolff’s Fire and Fury while simultaneously having a conservative imprint All Points Books. Simon and Schuster sells Hillary’s What Happened and Ivana’s Raising Trump.

While there’s an ongoing publishing saga of under-representation among numerous groups, still, when authors like Margaret Atwood, Kevin Kwan, Jesmyn Ward, Ta-Nehisi Coates, David Sedaris, and Caitlyn Jenner sell huge numbers of books, surely some progress is being made.

Shhhh!

Some popular career authors have been criticized for expressing their political opinions on their own Facebook page. One bestselling author who, after expressing her opinions about the president—she “refuses to shut up”—got online responses like, “I didn’t come here to read this. I used to love your books and will never buy them again.” One outraged commentor promoted a phone campaign against this writer to her publisher. Undeterred, this career author politely responds to these comments with “Bye!” It seems sad that online cranks are depriving themselves of her delightful novels, which they formerly loved. Freedom of speech is a constitutional right that I hope we can agree to endorse, especially in forums created for just that.

Disagreement among friends or colleagues is not a deal-breaker.

Robin Williams said, “A friend is someone who listens to your bullshit, tells you that it is bullshit and listens some more.” Are not authors and their readers friends, or at least participants in a meaningful dialogue?

Sensitivity

While non-fiction political potboilers are selling like hotcakes, these days fiction featuring politics or political characters are a tougher sell. Fiction readers want to escape the overwhelming daily barrage of politics. But that doesn’t mean alternative or oppositional voices should not be heard from within works of either non-fiction or fiction.

Often when I ask writers whom their intended readership is, they answer, “Everyone!” If so, it’s wise to include diverse opinions. In their work, a writer may cloak themselves in anonymity, but their own perceptions and viewpoints naturally inform their literary labors. Adept (or perhaps “woke”) fiction writers may question their ingrained viewpoint, sometimes with oppositional characters. If novels are about character growth, conflict and debate are necessities. Career authors of fiction have ample opportunity to provide voices in counterpoint. It could be in their protagonist’s thoughts or the dialogue of others.

Fictional characters may passionately debate hot-button issues that folks are reluctant to voice in public these days.

Authors may also discover their characters are free agents. Hank Phillippi Ryan has spoken of how hers often do just as they please while she breathlessly records their actions and words on her laptop.

Alternative viewpoints

It’s not necessarily that you are writing a novel with a political agenda but instead more inclusively exploring the world at large. Rita Mae Brown says she doesn’t write “gay novels” because that would limit the scope of her fiction to a particular group of people.

Beyond their vast imaginations, careful observation and research, career authors have additional tools at their disposal to portray with accuracy people different from themselves. It’s fairly common for writers to seek and use feedback from a crew of beta readers—often friends and other kindly acquaintances.

Just lately, specialized services of this sort have been monetized. Career authors whose work explore alternative POVs may hire “sensitivity readers” to vet their books—specialized beta readers. For example, an African American author might hire a Native American reader to verify they are correctly describing Pueblo burial traditions. This sensitivity reader might reflect on other aspects of the book, perhaps a character’s emotions, discussing their own reactions in similar circumstances.

To some, this raises the question of whether political correctness or groupthink could inhibit the creative fiction-writing process. I’d counter that it allows another informed and interesting voice to be heard from the cast of characters, which during revisions an author is entirely free to heed or not. It seems a positive development for storytellers to seek inclusiveness. Raising questions is a good thing.

Seditious reading

Readers who carefully avoid political discussions at parties, family gatherings, and other public forums may still curl up with a Maya Angelou novel, or sneak a read of Ayn Rand’s The Fountainhead to see what all the fuss is about. Dan Brown might do the trick, or perhaps Tom Perrotta. Maybe dipping into a Sophie Kinsella novel or Harlequin romance is what some readers might crave at just that moment. It’s no longer a problem to shield book covers, and expanding literary horizons is greatly encouraged.

Your mission, should you accept it…

Even as certain writers leave little in their plots to interpretation, it remains the reader’s task to sort through ideas and come to their own conclusions. Over a hundred years ago, the novel Uncle Tom’s Cabin altered the dialogue about slavery. In more recent times, Judith Rossner’s Looking for Mr. Goodbar caused a public discussion of misogyny and womens liberation. Bret Easton Ellis went more bonkers in the misogyny direction in American Psycho. Salman Rushdie’s The Satanic Verses launched hysteria, as well as a debate on satire. And E.L James… um, well… Can fiction be just as influential and powerful today?

In divided times, books provide a time-honored forum for meaningful discourse among writers, readers, and thinkers about contemporary issues. In your writing, without restraints or fear of criticism, seek new angles and POVs. Can you address opposing views? Literature can be a provocateur, a liberator, and potentially a unifier.

ABOUT THE AUTHOR

Dana Isaacson worked as Senior Editor at Penguin Random House for thirteen years. There, he edited a wide variety of titles—from bestselling commercial fiction to literary biographies and historical narratives. Prior to that, he was an editor at various publishing houses, including Pocket Books and Regan Books. He has also been an abridger, literary agent, writer, book doctor, and ghostwriter. Now a freelance editor, more information about Dana Isaacson can be found at http://www.danaisaacson.com

The Soulful Arc of the Universe

 “….the arc of the moral universe is long, but it bends toward justice.”

“When our days become dreary with low-hovering clouds of despair, and when our nights become darker than a thousand dark midnights. Let us remember that there is a creative force in this universe working to pull down the gigantic mountains of evil, a power that is able to make a way out of no way and transform dark yesterdays into bright tomorrows.….the arc of the moral universe is long, but it bends toward justice.”

MLK

HOW TO WRITE THE PERFECT SYNOPSIS

 

Royal FP(From a Writer’s Work Shop)

Most agents will ask you to send them a submission pack containing three items:

  • A covering letter (see advice here and sample here)
  • A synopsis
  • The first three chapters / 10,000 words of  your novel

Most agents will look at the covering letter first, then turn to the manuscript. If they like the first three chapters, they’ll be thinking, “This book looks really interesting. I’m definitely tempted . . . but is the author going to hold my interest over the full 300 / 400 pages? Is it worth me making that investment of time to read the whole thing?”

That’s where the synopsis comes in. The synopsis is there to answer the question, “What is the story of this book? Is there a clear story arc and will there be a satisfying ending?”

Obviously the actual experience of reading a synopsis is quite underwhelming. Synopses are boring, technical documents which (we hope) would not be true of your novel. But that doesn’t matter. Agents know synopses are dull, so all your synopsis really has to do is:

  • tell the agent in very clear terms what your story is
  • make it clear what your hook / premise / elevator pitch is (more info here)
  • give some kind of feeling for why the story matters & how the jeopardy increases
  • sketch out an ending that feels satisfying

But – and this should be reassuring – agents do know that synopses are hard to write and they care less about the synopsis than any other part of your submission package.That means you probably don’t need to worry excessively about your synopsis – just follow the guidelines below and you’ll do just fine.

How to write a perfect synopsis

A perfect synopsis has the following ingredients:

  • Length: 500-800 words
  • Main purpose: Summarise your plot
  • Secondary purpose: Make it clear what Unique Selling Point your book has
  • Language: Be businesslike: clear, to the point, neutral.
  • Presentation: Be well-presented: no typos or spelling mistakes. Normal font size, normal margins. Line spacing no narrower than 1.5
  • Character names. It helps if you put the names of main characters in bold or CAPS when you first introduce them. That way, if an agent has forgotten who Carlotta is, it’s easy for them to skim back and jog their memory. (Remember that agents are reading a lot of these things, so they have about a million character names in their heads at any one time.)
  • Extra points. It’s certainly not essential, but if you have a really compelling way to ‘sell’ your story in 2-3 lines maximum, then you could insert that little snippet up at the top of your synopsis as a way of reminding agents why they’re interested in this MS in the first place. For example, a certain Ms Rowling might have opened her synopsis with, “Harry Potter, an orphan, thinks he is an ordinary boy when an owl brings him a letter inviting him to attend wizard school.” That’s not strictly speaking synopsis material, but it does instantly emphasise the book’s appeal.
  • And remember: Tell the story: your job is not to sell the book, write dust jacket blurb, or anything else. Just say what happens in the story. That’s all you need to do.

And luckily there are things you don’t need to do:

  • Go into great detail about setting. If you were writing a synopsis for a Jane Austen novel for example, you might simply say “This novel is set in a small village in Regency England.”
  • Go into vast detail about character – a few quick strokes are all that you need. For example you might say: “Bridget Jones – a ditzy, mildly boozy twenty-something – …”
  • Be scrupulous about plot detail. It’s fine to skip over subplots or ignore some of the finer detail of how X accomplishes Y. The truth is, you won’t have time to include those things in a 700 word summary anyway. Agents know that the synopsis is at best an approximation of the story so you don’t need to have a troubled consicence.
  • You also don’t have to give away your very final plot twist – though you should make it clear that there is one. For example, you could write, “When Olivia finally catches up with Jack at the abandoned lighthouse, he tells her the real secret of his disappearance – and their final bloody reckoning ensues.” Mostly though, a synopsis is the ultimate plot spoiler, and your job is just to spill the beans whether you like it or not.