Techniques for Masterful Writing

A Summary of K.M. Weiland’s  “Write Like a Master”

I posted this in 2014 and I realized it was definitely worth posting again! I keep coming back to K.M.’s 10 factors that are simple to remember and key elements in any writing, be it fiction or non-fiction.

My summary of K.M. Weiland’s excellent article presented in Writer’s Digest, Work Book: Exercises and Tips for Honing Specific Aspects of Your Writing presents the key points of her exceptional article. It is especially for writers penning their first novel, but also for seasoned writers to again remember a classic, Jane Eyre, a novel that was ahead of its time, by Charlotte Brontë.  Often, reading classics, as most of us do, gives us fresh insight to dramatic storytelling par excellence, and can improve our own writing skills. K.M. Weiland gives us 10 distinct techniques for dramatic masterful writing.

  1. Hook: Start in the middle of some type of interaction within environment, statement, or internal angst to provoke reader curiosity.
  1. Characteristic Moment: Reveal/show a personality trait of the Protagonist.
  1. Setting Description of Scene: Start broadly, and then zoom in.
  1. Symbolism: Small details set story’s tone and foreshadows its course.
  1. The World Protagonist Inhabits: demonstrate character’s interior and exterior world.
  1. Back Story: Intersperse with dialogue, don’t dump back story in long paragraphs in chapter 1.
  1. The Premise of Story: Present the Dramatic Question early on, involving the moral foundation, the impetus that drives the story forward.
  1. Physical Actions: The physical movements of characters interspersed throughout dialogue increases depth of character traits.
  1. Protagonist’s Belief: Once Dramatic Question is identified, writer presents obstacles for protagonist until she/he can relinquish belief/misconception and meet deepest needs.

10.Extraordinary Factor: What makes the Protagonist important? How at odds is protagonist in his/her world with others that creates friction, tension, and thus the central conflict of story premise.

***see Writer’s Digest, October 2014 edition, for full article.

 

THE IMITATION GAME: Learning How to Be a Copy Cat!

THE IMITATION GAME: Learning How to Be a Copycat!

In Writer’s Digest magazine this month, I was stopped in my tracks, when I saw this article by Karen Krumpak. I thought…What?

But then reading on, I realized that this is what artists do all the time. The apprentice artists are required to copy their “Master’s work” in paintings, watercolor, and pastels. Okay, I thought, but how is copying, word for word, another author’s work going to help me? And is this a good idea? In my effort to understand this “Game”, I read on.

And, I then discovered that this is a practice game to improve writing skills. Great, I thought, I am hooked! It was a relief though, to know I wouldn’t be the only copycat. I was in good company: Jack London, Benjamin Franklin, and Hunter S. Thompson (I honestly don’t know who this man is or was.)

Next step: Learning to Copycat or rather finding a writer I love and want to copy, but, as I found out, this is not as easy as pie…it takes work! Work?? More work??

Okay…I am Game! (pun intended)

Ms. Karen Krumpak, the author of this article, states that “You will learn to have your own Voice and your own Distinctive Style!”  This sounded like magic to me, as I imagined my own Strong voice, and my own Distinctive style!

Or, would I be, “The New Copycat Killer of Words?” (secretly, I wondered if I would finally learn to properly use punctuation, and even learn how to use italics with confidence.) I have a secret love for italics—don’t ask me why, I don’t know. Italics are very pretty to look at, aren’t they?

The first thing is to sort through your personal library for a writer that you would love to imitate.  So, several hours later….I finally made a decision!

I chose a book with 870 pages: THE MISTS OF AVALON.  I figured that after 870 pages…I would really have my own Strong voice and my own Distinctive style! This would be the “Cat’s Meow” (Pun intended)!

This choice was perfect for me with my love of legends, fantasy, fairytales, and most of all, the Magic of Morgan Le Fay, in other words; the magic of a legends, and the magical saga of all the women behind King Arthur’s Throne. Ah Ha!  This is true…there are always women standing behind a man’s throne! (Just to be sure he didn’t forget anything. We women are so helpful.)

Next step: Learn how to be a Sherlock Holmes, but where is my Watson? Well, as Karen Krumpak states, “forcing yourself to impersonate another writer takes off the pressure of writing? Really? What pressure?

Soon, I am told, I will start reading like a writer. But, I do that already…maybe. Normally, I just read, for the pleasure of it. But, if I must, I will.

Soon, states Ms. Krumpak, I will learn to stretch my skills and improve my technique. This better work…if it doesn’t, well, I will have enjoyed immensely, re-reading The Mists of Avalon, just like a real writer reads a book. Good to know!

 

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

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

How to Beat the Query Game: The Truth About the Slush Pile

How to Beat the Query Game: The Truth About the Slush Pile  by Paula Munier 

Everywhere I go I hear writers complain about the black hole that is every literary agent’s in-box—the slush pile—that dark and dangerous place where their queries and manuscripts go in, never to be seen again. Kind of like all those socks that go into the dryer, never to be seen again.

I sympathize, up to a point. Here are the slush-pile facts of the matter, and what to do about it:

Some slush pile stats

I receive some 10,000 queries a year. I got more than a thousand of them my very first week as an agent, and I’ve been behind ever since. Way behind. Most of my fellow agents are drowning in a similar tsunami of unsolicited material. Note: This doesn’t count all the material—queries, proposals, sample pages, partial and full manuscripts—that we’ve asked to see.

For this reason, many agents do not read unsolicited queries at all. Nor do most publishers. I know, I know, it’s a Catch 22.

For many of us who do read unsolicited queries, well, that’s why God made interns. I can hear you cursing at me from here, mortified that the precious job of finding talent should be relegated to interns. I repeat: 10,000 unsolicited queries a year. And may I point out that my actual job is not to read unsolicited queries, my job is to sell my clients’ work.

Only 1 in 200 queries is well-written enough, well-conceived enough, and well-targeted enough to prompt me to ask to see more material. Why? Because many writers simply write a one-size-fits-all query, set up a mail merge that includes every agent in Literary Marketplace, and hit send. This means that they haven’t done their homework and they know nothing about me or the kind of projects I represent. Note: The salutation “Dear Paula Munier” is a dead giveaway.

What to do about it

You can beat the odds, simply by making sure that your queries and proposals and manuscripts fall into the solicited, rather than unsolicited, category.

Research the literary agents you pitch, and only pitch those who rep your genre. Go to conferences, and meet the agents. Hang out on twitter, and meet the agents; participate in online and offline pitch contests and meet the agents; go to your genre association functions and meet the agents. Then, when you follow up, you can set your communication apart by referencing your previous contact in the subject line.

As in: “Requested material from Bouchercon” or “Nice meeting you at the Boston Book Festival” or “Twitter pal writes mystery” or “Loved your panel at the MWA meeting” or “WD says you’re looking for Domestic Thrillers.”

By putting this kind of headline in your subject line, you’re far more likely to catch the agent’s attention. I always skim the subject lines of all the emails that come in, and if I see something from someone I’ve met, I’ll look myself. (The rest of the slush pile I often leave to the interns.)

Beat the in-box odds

Whenever you send out an unsolicited query, you are in effect making a cold call. Any good salesperson will tell you that cold calling sucks, and that the best leads are the qualified leads. So use these end-runs around the slush pile to figure out which agents to approach, make initial contact, and beat the query game.

Research and networking pay off in publishing as in any business, and they beat cold calling any day. All evidence to the contrary, agents are people, too, and face-time and familiarity make a difference.

I’ve edited bestselling authors from a myriad of worlds with vastly different viewpoints: Judge Robert Bork, Michael Chertoff, GenXer Doug Coupland, Irish rebel Gerry Adams, conservationist Mark Kurlansky, activist Rita Mae Brown, among others. I never questioned whether any of these authors should be published. I believe all voices should be heard.

In my editorial role, it doesn’t matter if an author makes a point with which I personally disagree. I strive to help that author clearly articulate their vision, making it comprehensible to readers.

I sometimes encounter passages in which I fear a novel’s readers may misconstrue an author’s intent—for example, a hypothetical margin note might read, “I worry some readers could view the portrayal of this character as stereotypical. Want to tweak the characterization so the character becomes more vividly real for readers?”

Ick

Err. Actually, I feel the need to digress, recalling an anecdote illustrating a notable exception to my high-minded “publish everyone” screed just above. Years ago, with a millisecond’s adeptness, an assistant clicked through a telephone caller that had been bothersome to my boss: “Dana, David Duke for you.”

Oy! The former Grand Wizard of the KKK had heard that the imprint where I worked published “controversial books,” as he put it, and Duke had a book to sell. My last name made him assume I was Jewish so I proudly was for that one day. Astonishingly, he quickly told me how before World War II the National Socialists had a plan to settle European Jews in Madagascar. I managed to end the call. Unfortunately, only later did I think of all sorts of wise, witty, pornographic comebacks I might have lobbed back at him.

Anyway—him. He shouldn’t be published.

Hate speech should not be published.

Paula Munier

PAULA MUNIER is a Senior Literary Agent and Content Strategist at Talcott Notch Literary Services. She boasts broad experience creating and marketing exceptional content in all formats across all markets for such media giants as WGBH, Disney, Fidelity, Gannett, Greenspun Media Group, F+W, and Quayside. A dedicated writing teacher, Paula is a popular speaker and lecturer at writing conferences, workshops, and retreats both online and on-site across the USA.

 

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Top 10 Reasons Your Book Will Sell: An Agent’s Checklist Posted by Paula Munier

 

Writers are always asking me how I decide to sign new clients—why this writer with this project, and not that writer with that project. As an agent, my primary job is to sell my clients’ work. Ergo, I sign writers whose work I think I can sell. And remember, we agents work on commission, so I don’t make any money until I sell the work. I can’t afford to take on a project, however wonderful the project and/or however wonderful the writer, if I don’t think I can sell it. Literally.

How do I know if I can sell it? It’s more art than science.

And God knows there are no guarantees in this business. That said, there are certain criteria that can help me predict what may work in today’s tough marketplace:

  1. I totally LOVE LOVE LOVE the work.
  2. I can pitch the story in 50 words or less.

In other words: It’s based on a high-concept (or at least unique) idea written by the writer born to write it. As in:

Everlasting Nora is a middle-grade novel about 12-year-old Nora, forced to live in Manila’s Cemetery City after her home burns down in the fire that takes her father. When her mother goes missing, Nora must find her—before it’s too late. A heartwarming debut by Filipino-American Marie Miranda Cruz.

  1. Readers will fall in love with the protagonist, just like I did.

Give me Bosch, Bridget Jones, Harry Potter, Stephanie Plum, Atticus Finch, Everlasting Nora.

  1. The story is written in a distinct and engaging voice.

Think Alice Hoffman, J. D. Salinger, Maya Angelou, Anne Lamott, David Sedaris, Isabel Allende, Pat Conroy, Roxane Gay, Sue Grafton, Lee Child.

  1. The story falls within a known genre.

Which means that: a) I know where it fits on the shelf; b) I can reference good comparable titles within that genre; and c) The publisher will know how to sell it.

  1. The protagonist drives the action from beginning to end.

Imagine your story as a film—would the A-list actor you want to play your hero agree to take the role? Hint: He’d have to do all the good bits, that is, take down the bad guy, get the girl, save the baby/world/universe.

  1. The structure is sound.

The plot works. The heroine’s dramatic arc is in place. The writer has remembered that: The first page sells the book. The last page sells the next book.

  1. The writer has a strong idea for a second standalone or the second in the series, whichever applies—and is already working on it.

The writer is in this for the long haul.

  1. The writer is professional, cooperative, and collaborative.

The writer understands that editing is part of the process—from my notes to the acquisition editor’s notes and beyond. Resistance is futile.

  1. The writer is prepared to make the transition from writer to author.

Notably: The writer is an active participant in his/her writing community, and is willing and able to do the promotion work required to publish successfully in the 21st century.

How’d you do? Are you ten for ten? Let’s discuss on Facebook.

Paula Munier

PAULA MUNIER is a Senior Literary Agent and Content Strategist at Talcott Notch Literary Services. She boasts broad experience creating and marketing exceptional content in all formats across all markets for such media giants as WGBH, Disney, Fidelity, Gannett, Greenspun Media Group, F+W, and Quayside. A dedicated writing teacher, Paula is a popular speaker and lecturer at writing conferences, workshops, and retreats both online and on-site across the USA.

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