Every single writer should read this blog post - it is genius! If you think your writing is good, think again! Read this single blog post and you'll be bursting with ideas on how to make it better, so much better that no agent or publisher will ever reject YOU again!
http://www.writersdigest.com/whats-new/7-simple-ways-to-make-a-good-story-great
Tuesday 19 June 2012
Monday 18 June 2012
Daily tip: good usage vs. common usage #5 - Accord vs. accordance
accord or accordance
The first word means “agreement”, e.g. we are in accord on the treaty’s meaning; the second word means “conformity”, e.g. the book was printed in accordance with modern industry standards.
The first word means “agreement”, e.g. we are in accord on the treaty’s meaning; the second word means “conformity”, e.g. the book was printed in accordance with modern industry standards.
Saturday 16 June 2012
Welcoming Jaydyn Chelcee
Good Morning Readers,
Before we get started, let me say a big “Thank You,” to Julie for inviting me to be her guest today. For those visitors who leave a comment today, I’ll drop your name in the cowboy hat for a chance to win a free E-copy of In the Arms of Danger today. Please leave a way for us to contact you.
Now then, to the fun stuff…
Jaydyn Chelcee Bio:
Jaydyn Chelcee has spent most of her life in Oklahoma, but at the same time, she’s traveled extensively, at least in the western half of the United States. One of her favorite settings in her contemporary western romances is Montana. She’s the author of the best selling Montana Men Series.
In the Arms of Danger is available in multi-formats at Secret Cravings Publishing and in print at Amazon.com
Coming soon from Secret Cravings publishing: No Holds Barred, book two of the Montana Men Series.
Available now from Secret Cravings Publishing: Extended release of Witch’s Brew and Witch’s Heart, books one and two of the Winslow Witches of Salem Series written under Tabitha Shay.
Blurb: In the Arms of Danger/Book One/Chelcee
Every woman needs a little danger in her life, but what's perilous about a wildlife shoot in the beautiful Montana wilderness? Armed with only a camera, Lacey Weston treks through the rough terrain and captures more on film than she bargains for—the murder of a young woman.
Fearing for her life, Lacey flees the scene and stumbles straight into the path of a man who strongly resembles the murderer. Is Sheriff Danger Blackstone, with his piercing gray eyes and rugged physique, be the man in her undeveloped pictures?
With nowhere else to run and hide, Lacey must decide if she dares to trust her life to the only person who can protect her, one whose apparent grudge against white females makes him less than approachable—the very man she suspects of murder.
A suspenseful romance—packed with action, hard-bodied cowboys, and long, hot nights—gives a whole new meaning to the Wild West.
Fearing for her life, Lacey flees the scene and stumbles straight into the path of a man who strongly resembles the murderer. Is Sheriff Danger Blackstone, with his piercing gray eyes and rugged physique, be the man in her undeveloped pictures?
With nowhere else to run and hide, Lacey must decide if she dares to trust her life to the only person who can protect her, one whose apparent grudge against white females makes him less than approachable—the very man she suspects of murder.
A suspenseful romance—packed with action, hard-bodied cowboys, and long, hot nights—gives a whole new meaning to the Wild West.
EXCERPT/IN THE ARMS OF DANGER/CHELCEE/R-RATED
A scowl darkened his face as he tore at the flaps. “Coming in,” he announced and entered the tent. Clenching his fists in frustration, Danger froze the instant he straightened and saw Lacey.
She stood across from him holding a towel in front of her. It didn’t take long to realize she was naked behind that minuscule barrier. Her eyes looked like big, gold pools of light. Her breasts rose and fell behind the terry cloth.
Danger swallowed hard. His gaze zeroed in on the rounded fullness he knew lay there. “Damn it, Lacey. I said I was coming in.”
“I know.” She gave a little shrug and dropped the towel. It floated to the nylon floor and landed near her bare feet. His gaze followed its descent and for some reason, he couldn’t take his eyes off her toes. Those intriguing, bright pink toenails held his attention. Oh, shit. Now he knew he’d lost his mind. He’d never had a fetish for toes, painted or otherwise.
Slowly, he slid his gaze up past her slender ankles, her knees, up her thighs where a row of healing stitches followed the line of her inner thigh. He settled his gaze on the intriguing nest of honey-blonde curls. Danger swallowed hard before moving on to the concave of her belly, the tiny turned in navel, past the little mole just beneath her right breast he’d discovered when he’d stripped her before and finally to her up-tilted breasts where her pink-as-strawberries nipples tempted and invited. “Jesus Christ,” he whispered.
Lacey stood there, head bowed, her skin flushed bright pink.
“Sweetheart, look at me.”
She raised her head, her eyes questioning.
“You have nothing to be ashamed of or embarrassed about. You’re beautiful.” Danger reached for the top button on his jeans.
“Let me,” she whispered, her cheeks pink and a hint of shyness in her voice, she moved to stand in front of him, a little hesitant. “I want to undress you. I want to touch you all over, kiss you all over.”
His breath caught somewhere between his lungs and his throat and no words formed on his tongue. He nodded, certain he’d never be able to speak again. Her fingers trembled against his belly. She fumbled with the button on his jeans, looked up, and licked her lips. “It’s already unbuttoned.”
He nodded, his lungs aching for air.
She moved to the next button, working it through its slot. The backs of her fingers brushed the tip of his erection. Jesus, if she took much longer he’d die standing here. He gripped her shoulders. “Lacey.” He growled her name.
“What?” Her eyes widened. “What?” she whispered again.
He lowered his head and anchored his mouth against hers. She shuddered. Her fingers curled into his biceps and she leaned into the kiss, accepted the penetration of his tongue, a hot, wet mating with hers.
“Mmm.” Lacey’s eyes fluttered shut. He nibbled at her mouth with a leisurely thoroughness that intoxicated. There was no hurry. No need to rush. He simply relished the delicious taste of her mouth.
He tightened his hands on her waist and tugged her closer. There was no space now between their bodies. Hardness pressed against softness. Male against female. Invitation given and accepted.
Danger moved restlessly. He stroked the pads of his thumbs across her tight nipples, skimmed his fingers down her back and cupped the curves of her buttocks. He loved the feel of her skin, so soft and smooth beneath his fingertips. “Touch me, princess,” he whispered against her mouth. He worked off his jeans then brought her hands to his hard shaft. “I’m dying for your touch. I need to feel your hands on me.”
He looked down at her slender fingers wrapped around his aching cock. The broad head of his penis filled her hand. He heard her stunned gasp at his size. He was thick, too thick for her fingers to reach completely around.
“I don’t think we’ll fit,” she said. She licked her lips and eyed his jutting penis with doubt. “You—you’re so—”
“We’ll fit,” he whispered against her ear and closed his hand over hers, guiding her smooth strokes up and down the hard length of his aching shaft. “I’ll go easy, we’ll fit.’’
“You kissed me,” she said and cupped the spongy sac at the base of his burgeoning shaft. “After the little incident with the rattlesnake, you kissed me. I haven’t been the same since.”
He laughed softly. “Yeah? Mmm, don’t stop, sweetheart. That feels good.”
“Twice,” she accused, sounding a little breathless. “You kissed me twice, maybe even three times. I lost count.” She gently squeezed the nuggets, halted the stroking that was driving him insane and walked a fingertip up the endless length of his shaft.
“Yeah,” he breathed huskily. “So I did, princess, but those weren’t kisses. Not real kisses and certainly not the kind I want to give you. Think of them as appetizers.” He moaned when she explored the tip of his shaft, smoothing a finger over the head and catching the pearly drop of fluid there. “And my appetite has barely been whetted.”
She caught her bottom lip with her teeth in that sexy way that drove him nuts. He gasped as she continued to explore his cock with hesitant fingers. His eyes darkened with warning. “Harder,” he instructed. “I won’t break. And if you expect gentle, little cat, you’ve chosen the wrong man.” He took a deep, ragged breath. “I’m not gentle, Lacey. I don’t know how to be. Tenderness is something I’ve lacked in my life for more years than I care to remember.” He moaned, moved against her hand like a rising swell. “I’m as savage as I look. I like my sex hot, hard, and deep.”
Lacey swallowed hard, her eyes round. A hint of red tinged her cheek bones.
“Be very sure you want this, little cat, because if I touch you, make you mine, there’s no going back. I won’t go back.”
“I don’t want to go back. I want you; so much I can barely stand it. Make me yours, Danger.”
His breath chugged out in a long, slow hiss. “Jesus, Lacey, I’m giving you the chance to say no. Take it now, while I can still stop.”
“No.” She shook her head. “I’m not asking you to stop.”
“Good. I won’t. I told you, I won’t. If we start this, we finish it. I’ve waited forever for you to come into my life. I’m not going back to just existing and marking time on the calendar.”
“Shut up and kiss me,” she breathed.
-----------------
Current releases available at Amazon.com
http://www.jaydynchelcee.com
Email: jaydyn@jaydynchelcee.com
Friday 15 June 2012
New ebook cover requirements - Smashwords and Apple
Why the change? Starting in August, Apple will require that all new ebook cover images be at least 1,400 pixels wide. Their previous minimum was 600 pixels.
Since Smashwords requires vertical rectangle (height greater than width) images, a new recommended ebook cover might be around 1,600 pixels wide by 2,400 pixels tall. Why 2,400? 2,400 is 1.5 times 1,600. Pull out a ruler and measure just about any print book and you'll get a ratio close to that. Most good-looking covers have heights that range from approximately 1.3 to 1.6 times your width. Amazon recommends a 1.6 width/height ratio, and their recommended height is 2,500 pixels. As you can see, there's flexibility here for personal preference whether you prefer wide or long. The image above left shows what a 1.5 ratio looks like. The height is 50% greater than the width.
Why is Apple requiring higher pixel counts? Most likely, it's because they want to provide ebook customers better covers for their current and future higher resolution iPads, iPhones and MacBooks. Since we think the Apple and Amazon guidelines are reasonable (they help readers with next-generation screens enjoy your covers in all their glory), we'll adopt Apple's requirements as our new minimum standards for cover images.
What happens next?
Apple's new requirement applies to new ebooks, and new cover updates. If your book is already in the Apple iBookstore with a smaller cover image, you're grandfathered in, UNLESS you try to update your cover image in the future, in which case they'll reject it. To help you get ahead of this change, Smashwords will make the 1,400 pixel minimum a Premium Catalog requirement starting on or around July 15. Like Apple, Smashwords will apply the standard to new titles and cover image updates. If Smashwords previously shipped your smaller cover to retailers, they won't require the new cover image size unless you update your cover image or republish a previously unpublished book. The minimum dimensions do not apply to the images or cover image inside your .epub file.
The Smashwords FAQ is now updated to reflect the new recommendations and requirements. The Smashwords Style Guide will be updated in the next day or two so one month from now this won't come as a surprise to people.
How NOT to create a new cover image
Don't use a photo or image editing program to enlarge your current image. That will cause pixelation (blur).
How to create your cover image
You'll find some tips in the Smashwords FAQ, though their best recommendation is to hire a professional. Unless you're a professional graphic artist, it's best to hire a cover image designer. All our pre-designed book covers are already designed to more than meet these size requirements, so you can buy with confidence. See this free ebook, The Secrets to Ebook Publishing Success, for comments on why a professional ebook cover image is so critical to a book's success.
Please share this post with your fellow authors and publishers so everyone has ample advance notice.
Thursday 14 June 2012
Daily tip: good usage vs. common usage #4 - access, vb
The use of nouns as verbs has long been one of the most common ways that word-usage changes happen in English. Today, few people quibble with using contact, debut, and host, for example, as verbs.
Access can be safely used as a verb when referring to computing, e.g. access a computer, access the Internet, access a database etc. Outside the digital world, though, it is still best avoided.
Access can be safely used as a verb when referring to computing, e.g. access a computer, access the Internet, access a database etc. Outside the digital world, though, it is still best avoided.
Exterminating adverbs
The adverb is a perfectly respectable English construct, when speaking, writing instructions, or anywhere else where it doesn't really matter. I know if I'm urging my daughters to get ready in the morning, I am very likely to utter the word, "Quickly." I'm not going to stand there for half an hour searching for le mot juste while the bus leaves without us.
In writing as an art form (or a craft, if you prefer), we can be a little more leisurely. We can take the time to search for just that right word, or phrase, or sentence, or paragraph, that puts across exactly what we want to say in a far more beautiful/exciting/dramatic/erotic* manner than simply peppering our work with lazy adverbs.
*delete as appropriate
And if you don't believe me, here is what Stephen King has to say on the subject.
-----------------------
In his book, On Writing, prolific fiction writer Stephen King argues for simplicity in writing. Here he attacks the adverb:
The other piece of advice I want to give you ... is this: The adverb is not your friend.
Adverbs, you will remember, ... are words that modify verbs, adjectives, or other adverbs. They're the ones that usually end in -ly. Adverbs, like the passive voice, seem to have been created with the timid writer in mind. ... With adverbs, the writer usually tells us he or she is afraid he/she isn't expressing himself/herself clearly, that he or she is not getting the point or the picture across.
Consider the sentence He closed the door firmly. It's by no means a terrible sentence (at least it's got an active verb going for it), but ask yourself if firmly really has to be there. You can argue that it expresses a degree of difference between He closed the door and He slammed the door, and you'll get no argument from me . . . but what about context? What about all the enlightening (not to say emotionally moving) prose which came before He closed the door firmly? Shouldn't this tell us how he closed the door? And if the foregoing prose does tell us, isn't firmly an extra word? Isn't it redundant?
Someone out there is now accusing me of being tiresome and anal-retentive. I deny it. I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they're like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day . . . fifty the day after that . . . and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it's-GASP!!-too late.
I can be a good sport about adverbs, though. Yes I can. With one exception: dialogue attribution. I insist that you use the adverb in dialogue attribution only in the rarest and most special of occasions . . . and not even then, if you can avoid it. Just to make sure we all know what we're talking about, examine these three sentences:
"Put it down!" she shouted.
"Give it back," he pleaded, "it's mine."
"Don't be such a fool, Jekyll," Utterson said.
In these sentences, shouted, pleaded, and said are verbs of dialogue attribution. Now look at these dubious revisions:
"Put it down!" she shouted menacingly.
"Give it back," he pleaded abjectly, "it's mine."
"Don't be such a fool, Jekyll," Utterson said contemptuously.
The three latter sentences are all weaker than the three former ones, and most readers will see why immediately. "Don't be such a fool, Jekyll," Utterson said contemptuously is the best of the lot; it is only a cliché, while the other two are actively ludicrous. Such dialogue attributions are sometimes known as 'Swifties,' after Tom Swift, the brave inventor-hero in a series of boys' adventure novels written by Victor Appleton II. Appleton was fond of such sentences as "Do your worst!" Tom cried bravely and "My father helped with the equations," Tom said modestly. When I was a teenager there was a party-game based on one's ability to create witty (or half-witty) Swifties. "You got a nice butt, lady," he said cheekily is one I remember; another is "I'm the plumber," he said, with a flush. (In this case the modifier is an adverbial phrase.) ...
Some writers try to evade the no-adverb rule by shooting the attribution verb full of steroids. The result is familiar to any reader of pulp fiction or paperback originals:
"Put down the gun, Utterson!" Jekyll grated.
"Never stop kissing me!" Shayna gasped.
"You damned tease!" Bill jerked out.
Don't do these things. Please oh please. The best form of dialogue attribution is said, as in he said, she said, Bill said, Monica said.
Author: Stephen King
Title: On Writing
Publisher: Scribner
Date: Copyright 2000 by Stephen King
Pages: 124-127
In writing as an art form (or a craft, if you prefer), we can be a little more leisurely. We can take the time to search for just that right word, or phrase, or sentence, or paragraph, that puts across exactly what we want to say in a far more beautiful/exciting/dramatic/erotic* manner than simply peppering our work with lazy adverbs.
*delete as appropriate
And if you don't believe me, here is what Stephen King has to say on the subject.
-----------------------
In his book, On Writing, prolific fiction writer Stephen King argues for simplicity in writing. Here he attacks the adverb:
The other piece of advice I want to give you ... is this: The adverb is not your friend.
Adverbs, you will remember, ... are words that modify verbs, adjectives, or other adverbs. They're the ones that usually end in -ly. Adverbs, like the passive voice, seem to have been created with the timid writer in mind. ... With adverbs, the writer usually tells us he or she is afraid he/she isn't expressing himself/herself clearly, that he or she is not getting the point or the picture across.
Consider the sentence He closed the door firmly. It's by no means a terrible sentence (at least it's got an active verb going for it), but ask yourself if firmly really has to be there. You can argue that it expresses a degree of difference between He closed the door and He slammed the door, and you'll get no argument from me . . . but what about context? What about all the enlightening (not to say emotionally moving) prose which came before He closed the door firmly? Shouldn't this tell us how he closed the door? And if the foregoing prose does tell us, isn't firmly an extra word? Isn't it redundant?
Someone out there is now accusing me of being tiresome and anal-retentive. I deny it. I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they're like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day . . . fifty the day after that . . . and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it's-GASP!!-too late.
I can be a good sport about adverbs, though. Yes I can. With one exception: dialogue attribution. I insist that you use the adverb in dialogue attribution only in the rarest and most special of occasions . . . and not even then, if you can avoid it. Just to make sure we all know what we're talking about, examine these three sentences:
"Put it down!" she shouted.
"Give it back," he pleaded, "it's mine."
"Don't be such a fool, Jekyll," Utterson said.
In these sentences, shouted, pleaded, and said are verbs of dialogue attribution. Now look at these dubious revisions:
"Put it down!" she shouted menacingly.
"Give it back," he pleaded abjectly, "it's mine."
"Don't be such a fool, Jekyll," Utterson said contemptuously.
The three latter sentences are all weaker than the three former ones, and most readers will see why immediately. "Don't be such a fool, Jekyll," Utterson said contemptuously is the best of the lot; it is only a cliché, while the other two are actively ludicrous. Such dialogue attributions are sometimes known as 'Swifties,' after Tom Swift, the brave inventor-hero in a series of boys' adventure novels written by Victor Appleton II. Appleton was fond of such sentences as "Do your worst!" Tom cried bravely and "My father helped with the equations," Tom said modestly. When I was a teenager there was a party-game based on one's ability to create witty (or half-witty) Swifties. "You got a nice butt, lady," he said cheekily is one I remember; another is "I'm the plumber," he said, with a flush. (In this case the modifier is an adverbial phrase.) ...
Some writers try to evade the no-adverb rule by shooting the attribution verb full of steroids. The result is familiar to any reader of pulp fiction or paperback originals:
"Put down the gun, Utterson!" Jekyll grated.
"Never stop kissing me!" Shayna gasped.
"You damned tease!" Bill jerked out.
Don't do these things. Please oh please. The best form of dialogue attribution is said, as in he said, she said, Bill said, Monica said.
Author: Stephen King
Title: On Writing
Publisher: Scribner
Date: Copyright 2000 by Stephen King
Pages: 124-127
Wednesday 13 June 2012
Daily tip: good usage vs. common usage #3 - abjure, adjure
I must confess, I've never had to use this one, but someone out there might find it helpful.
-----------
abjure; adjure.
To abjure is to deny or renounce under oath, e.g. "The defendant abjured the charge of murder," or to declare one’s permanent abandonment of a place, eg. abjure the realm.
To adjure is to require someone to do something as if under oath, e.g. "I adjure you to keep this secret," or to urge earnestly, e.g. "The executive committee adjured all the members to approve the plan."
-----------
abjure; adjure.
To abjure is to deny or renounce under oath, e.g. "The defendant abjured the charge of murder," or to declare one’s permanent abandonment of a place, eg. abjure the realm.
To adjure is to require someone to do something as if under oath, e.g. "I adjure you to keep this secret," or to urge earnestly, e.g. "The executive committee adjured all the members to approve the plan."
Tuesday 12 June 2012
Daily tip: good usage vs. common usage #2 - ability, capability, capacity
There are many words which are commonly confused with each other and which may have similar, overlapping, or even opposite meanings. Three such words are: ability, capability and capacity.
Ability refers to a person’s physical or mental skill or power to achieve something, e.g. the ability to ride a bicycle.
Capability refers more generally to power or ability, e.g. she has the capability to play soccer professionally, or to the quality of being able to use or be used in a certain way, e.g. a jet with long-distance-flight capability.
Capacity refers especially to a vessel’s ability to hold or contain something, e.g. a high-capacity fuel tank. However, used figuratively, capacity refers to a person’s physical or mental power to learn, e.g. an astounding capacity for mathematics.
Ability refers to a person’s physical or mental skill or power to achieve something, e.g. the ability to ride a bicycle.
Capability refers more generally to power or ability, e.g. she has the capability to play soccer professionally, or to the quality of being able to use or be used in a certain way, e.g. a jet with long-distance-flight capability.
Capacity refers especially to a vessel’s ability to hold or contain something, e.g. a high-capacity fuel tank. However, used figuratively, capacity refers to a person’s physical or mental power to learn, e.g. an astounding capacity for mathematics.
Five fiction mistakes that spell rejection: No. 3 - Undeveloped Characters
Fiction Mistakes that Spell Rejection
by Moira Allen
3: Undeveloped Characters
Your story may begin with an interesting idea (e.g., “What would happen if?”), but the characters keep people reading. Most editors agreed they look for stories driven by interesting, believable characters. “Could you imagine the movie Gladiator without the scene where Maximus loses his family?” asks Doyle Wilmoth Jr. “Gladiator has action, but we also have a character that moves us deeply. Someone we want to cheer for.”
Problems with characters include:
Characters the reader won’t care about. “It is especially bad news when the protagonist is someone with no redeeming social value, because we have to care about what happens to someone in the story, or why bother to read it?” says Diane Walton.
Characters who do not grow or learn. Several editors complained of “cardboard” characters whose motivations were unclear, or who simply reacted to story events rather than being the source of the story’s plot or conflict. “Ultimately the main character must decide his or her own fate; it can’t be decided for them,” says David Felts, former editor of Maelstrom Speculative Fiction and current editor of SFReader.com. Skylar Burns of Ancient Paths notes that “an even greater problem is the character that undergoes a rapid and unrealistic transformation in a very short span of prose.” Marcia Preston of Byline notes that too many stories feature characters who lack any apparent goal, or a compelling reason to want a particular goal — a flaw that results in stories with no significant conflict.
Stereotypes. “Why can’t a rich business man be kind and compassionate? Why are unemployed men always lazy and sit around in their vests swigging out of cans? Why can’t one or two learn Latin or take up line-dancing?” asks Sally Zigmond of QWF Magazine. Rhonna Robbins-Sponaas of Net Author notes that when a character is a stereotype, the story often needs a complete rewrite to turn the character into a living, breathing, three dimensional being.
The solution? “Know your characters, particularly the narrator,” suggests Victoria Esposito-Shea of HandHeldCrime. You don’t have to give the reader every detail of your character’s history, but you should know the history yourself. “That’s where voice is going to come from, and should also drive the plot to a large degree.”
“Remember that each person on this planet is an individual, possessing a separate combination of traits that distinguish him or her from everyone else,” says Bill Glose of Virginia Adversaria. “Be specific. Instead of saying, ‘The bar patron was obnoxious,’ say, ‘The skin around his mouth glowed, gin blossoms reddening his puffy cheeks and seeping into the overlapping chins. When he spoke, his speech was slurred and the words had an edge to them.’” Glose recommends using action to illustrate a character’s traits.
by Moira Allen
3: Undeveloped Characters
Your story may begin with an interesting idea (e.g., “What would happen if?”), but the characters keep people reading. Most editors agreed they look for stories driven by interesting, believable characters. “Could you imagine the movie Gladiator without the scene where Maximus loses his family?” asks Doyle Wilmoth Jr. “Gladiator has action, but we also have a character that moves us deeply. Someone we want to cheer for.”
Problems with characters include:
Characters the reader won’t care about. “It is especially bad news when the protagonist is someone with no redeeming social value, because we have to care about what happens to someone in the story, or why bother to read it?” says Diane Walton.
Characters who do not grow or learn. Several editors complained of “cardboard” characters whose motivations were unclear, or who simply reacted to story events rather than being the source of the story’s plot or conflict. “Ultimately the main character must decide his or her own fate; it can’t be decided for them,” says David Felts, former editor of Maelstrom Speculative Fiction and current editor of SFReader.com. Skylar Burns of Ancient Paths notes that “an even greater problem is the character that undergoes a rapid and unrealistic transformation in a very short span of prose.” Marcia Preston of Byline notes that too many stories feature characters who lack any apparent goal, or a compelling reason to want a particular goal — a flaw that results in stories with no significant conflict.
Stereotypes. “Why can’t a rich business man be kind and compassionate? Why are unemployed men always lazy and sit around in their vests swigging out of cans? Why can’t one or two learn Latin or take up line-dancing?” asks Sally Zigmond of QWF Magazine. Rhonna Robbins-Sponaas of Net Author notes that when a character is a stereotype, the story often needs a complete rewrite to turn the character into a living, breathing, three dimensional being.
The solution? “Know your characters, particularly the narrator,” suggests Victoria Esposito-Shea of HandHeldCrime. You don’t have to give the reader every detail of your character’s history, but you should know the history yourself. “That’s where voice is going to come from, and should also drive the plot to a large degree.”
“Remember that each person on this planet is an individual, possessing a separate combination of traits that distinguish him or her from everyone else,” says Bill Glose of Virginia Adversaria. “Be specific. Instead of saying, ‘The bar patron was obnoxious,’ say, ‘The skin around his mouth glowed, gin blossoms reddening his puffy cheeks and seeping into the overlapping chins. When he spoke, his speech was slurred and the words had an edge to them.’” Glose recommends using action to illustrate a character’s traits.
Monday 11 June 2012
Daily tip: good usage vs. common usage #1 - a, an
Many words are used in every day language which are perfectly adequate for purpose, i.e. they get across the meaning of what we want to say without being technically correct.
But, when writing, or editing, especially in narrative, we really need to be technically correct as far as is possible. In dialogue, grammatical errors and dialect are fine, if that is how your character speaks. But in narrative, we have to be more careful.
Dictionaries are not always reliable, as they reflect common usage rather than correct usage. As language evolves constantly, it is a fact that, when enough people get it wrong, it will inevitably become 'right'. Be that as it may, at this point in time, our writing must reflect what is currently 'right'.
This is the first in a series of daily tips on good usage vs. common usage.
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A; an.
We were all taught at school to use 'a' before a consonant and 'an' before a vowel. So, such constructs as "a cow" and "an elephant" pose no problems. But what do we do when a word begins with, for example, a vowel, but sounds as if it begins with a consonant, and vice versa?
We go with the sound of the word, not the spelling, as the a/an difference undoubtedly evolved for ease of speech.
So, use the indefinite article 'a' before any word beginning with a consonant sound e.g. "a utopian dream". Use 'an' before any word beginning with a vowel sound e.g. "an officer", "an honorary degree".
The word "historical" and its variations cause missteps, but since the 'h' in these words is pronounced, it takes an 'a' e.g. "an hour-long talk at a historical society".
Likewise, an initialism (whose letters are sounded out) may be paired with one article while an acronym (which is pronounced as a word) beginning with the same letter is paired with the other e.g. "an HTML website for a HUD program".
Wednesday 6 June 2012
Five fiction mistakes that spell rejection: No. 2 - Wordiness
Fiction Mistakes that Spell Rejection
by Moira Allen
2: Wordiness
Another pervasive problem editors cited was too many words. Many suggested that new writers learn to cut their stories by 10 to 50 percent. “The most obvious error we encounter in fiction is overwriting,” say Anthony Brown and Darrin English of Stickman Review. “Young writers, full of energy, throw everything and the kitchen sink into their work to impress editors.”
Excess verbiage can result from several fundamental writing errors.
Too many adjectives and adverbs. “When the yellow, round orb of the sun stealthily and smoothly creeps into the azure blue early morning sky, one may wonder why the sun didn’t simply rise; it would have saved a good deal of trouble for all concerned,” says Max Keele of Fiction Inferno. If you feel the need to modify every verb with an adverb (or two), or every noun with an adjective, chances are you’re not picking the right words. Look for strong nouns and stand alone verbs that convey your meaning without modification.
Using “big” words when simple ones would do. “To me, ‘ascended’ sounds inappropriate to describe a man walking up a few steps,” says Adam Golaski of New Genre. Seeking alternatives to “said” is another common error; too often, characters “expostulate” or “riposte.”
Too much detail or backstory. Many writers fall into the trap of adding too much detail or description.
“Describing the color and length of a protagonist’s hair is great if it’s relevant; otherwise it’s fluff you can cut,” says Don Muchow of Would That It Were. Diane Walton of ON SPEC deplores “long exposition ‘lumps’ that stop the action dead in its tracks, so one character can explain to another that their society has been operating in a certain way for centuries, or the long speech where the bad guy explains why he has to kill the good guy.”
The solution? Put your story aside for at least a week after writing it; then go back over it and search for “flab.”
“Every word has to do a job; if it’s goldbricking, out it goes,” says Robbie Matthews of Andromeda Spaceways Inflight Magazine. Hunt down those excess adverbs and adjectives. Look for stronger nouns and verbs. Set a goal of trimming your final draft by at least 10%.
Next time: Undeveloped characters
by Moira Allen
2: Wordiness
Another pervasive problem editors cited was too many words. Many suggested that new writers learn to cut their stories by 10 to 50 percent. “The most obvious error we encounter in fiction is overwriting,” say Anthony Brown and Darrin English of Stickman Review. “Young writers, full of energy, throw everything and the kitchen sink into their work to impress editors.”
Excess verbiage can result from several fundamental writing errors.
Too many adjectives and adverbs. “When the yellow, round orb of the sun stealthily and smoothly creeps into the azure blue early morning sky, one may wonder why the sun didn’t simply rise; it would have saved a good deal of trouble for all concerned,” says Max Keele of Fiction Inferno. If you feel the need to modify every verb with an adverb (or two), or every noun with an adjective, chances are you’re not picking the right words. Look for strong nouns and stand alone verbs that convey your meaning without modification.
Using “big” words when simple ones would do. “To me, ‘ascended’ sounds inappropriate to describe a man walking up a few steps,” says Adam Golaski of New Genre. Seeking alternatives to “said” is another common error; too often, characters “expostulate” or “riposte.”
Too much detail or backstory. Many writers fall into the trap of adding too much detail or description.
“Describing the color and length of a protagonist’s hair is great if it’s relevant; otherwise it’s fluff you can cut,” says Don Muchow of Would That It Were. Diane Walton of ON SPEC deplores “long exposition ‘lumps’ that stop the action dead in its tracks, so one character can explain to another that their society has been operating in a certain way for centuries, or the long speech where the bad guy explains why he has to kill the good guy.”
The solution? Put your story aside for at least a week after writing it; then go back over it and search for “flab.”
“Every word has to do a job; if it’s goldbricking, out it goes,” says Robbie Matthews of Andromeda Spaceways Inflight Magazine. Hunt down those excess adverbs and adjectives. Look for stronger nouns and verbs. Set a goal of trimming your final draft by at least 10%.
Next time: Undeveloped characters
Tuesday 5 June 2012
Poem: My cat
I don't often write poetry, and when I do it generally isn't worth reading. But a few years ago I was watching my cat play in the living room and this little gem popped into my head almost fully formed.
© Julie Cavanagh 2005
-------------------------------
RIP Smokey - 1995-2010
My cat
My cat.
Raggy ear bit by a rat cat.
Scratching up the tatty hall mat cat.
Clawing off the hall wallpaper - bad cat!
Raggy ear bit by a rat cat.
Scratching up the tatty hall mat cat.
Clawing off the hall wallpaper - bad cat!
My cat.
Crying for his dinner fat cat.
Chewing through his dry food bag mad cat.
Laddering my last pair of tights, that damn cat!
Crying for his dinner fat cat.
Chewing through his dry food bag mad cat.
Laddering my last pair of tights, that damn cat!
My cat.
Wearing my daughter’s party hat cat.
Intrepid balloon killer hero combat cat.
Stealing my seat right before I sit down flat cat.
Wearing my daughter’s party hat cat.
Intrepid balloon killer hero combat cat.
Stealing my seat right before I sit down flat cat.
My cat.
Tree climbing brave explorer type cat.
Sliding down backwards claws wide, frantic-eyed cat.
Washing paws calmly, “I meant to do that,” cat.
Tree climbing brave explorer type cat.
Sliding down backwards claws wide, frantic-eyed cat.
Washing paws calmly, “I meant to do that,” cat.
My cat.
Stalking dirty pigeons in the back yard cat.
Nonchalant in the sun, “Who you looking at?” cat
Eyes lidded, tummy stretched for a good scratch cat.
Stalking dirty pigeons in the back yard cat.
Nonchalant in the sun, “Who you looking at?” cat
Eyes lidded, tummy stretched for a good scratch cat.
My cat.
© Julie Cavanagh 2005
Monday 4 June 2012
Five fiction mistakes that spell rejection: No. 1 - Bad Beginnings
I can’t remember where I sourced this from, probably one of the writing forums I go on, but I found a very interesting article written by Moira Allen, who is the editor of Writing-World.com. Over the next week or so I will be posting excerpts from it.
___________________________________
Fiction Mistakes that Spell Rejection
by Moira Allen
Ask most fiction editors how to avoid rejection, and you’ll hear the same thing: Read the guidelines. Review the publication. Don’t send a science fiction story to a literary magazine, and vice versa. Don’t send a 10,000-word manuscript to a magazine that never publishes anything longer than 5,000 words. Spell check. Proofread. Check your grammar. Format your manuscript correctly. Be professional.
Failure to observe these basics, many editors say, accounts for more than 80% of all short fiction rejections. But what if you’ve done all that, and your stories are still coming back with polite, form rejection letters? I asked nearly 50 fiction editors — from traditional literary publications to flash fiction ezines — what types of problems resulted in the other 20% of rejections. These are the problems that plague stories that meet all the basic requirements, but still don’t quite “make the grade.”
----------------------------
Bad Beginnings
“A story needs a beginning that grabs the reader and pulls him into the story,” says Lida Quillen of Twilight Times. If you can’t hook the editor with your opening line or first paragraph, the editor will assume it won’t hook the reader either. “You simply must grab me in those first few sentences,” says Ian Randall Strock of Artemis.
Dave Switzer of Challenging Destiny looks for “something new — something I haven’t seen before — on the first page. Something unique about the character or situation that makes me want to continue reading.”
One source of weak beginnings is “taking too long to cut to the chase,” according to Diane Walton of ON SPEC. “When the writer spends three pages explaining the entire history of the planet, we know we are in trouble.” Doyle Wilmoth Jr. of SpecFicWorld.com agrees, defining a slow-starting story as one in which “the writer feels that she/he needs to explain every little detail for the reader to understand.”
A story must do more than begin well; it must also fulfill the promise of that beginning. “Some new fiction writers create a very good beginning, but then do not fulfill the expectations of the reader,” says Lida Quillen. “As a writer, you want to raise the reader’s expectations, create a need to know what happens next and then satisfactorily fulfill that need.” Once you’ve “grabbed” the editor with your first sentence, your second has to keep him reading — right on to the end of the story.
Andrew Gulli of The Strand Magazine notes: “The writers I resent are those who hook you with first sentence then whole stories turn out to be boring. Often writers will write something with a beginning and ending. There is no middle.” Anne Simpson of Antigonish Review feels that “Generally speaking, a weak opening is more forgivable than a weak ending, but both should be strong for the story to work.”
Next time: Wordiness
___________________________________
Fiction Mistakes that Spell Rejection
by Moira Allen
Ask most fiction editors how to avoid rejection, and you’ll hear the same thing: Read the guidelines. Review the publication. Don’t send a science fiction story to a literary magazine, and vice versa. Don’t send a 10,000-word manuscript to a magazine that never publishes anything longer than 5,000 words. Spell check. Proofread. Check your grammar. Format your manuscript correctly. Be professional.
Failure to observe these basics, many editors say, accounts for more than 80% of all short fiction rejections. But what if you’ve done all that, and your stories are still coming back with polite, form rejection letters? I asked nearly 50 fiction editors — from traditional literary publications to flash fiction ezines — what types of problems resulted in the other 20% of rejections. These are the problems that plague stories that meet all the basic requirements, but still don’t quite “make the grade.”
----------------------------
Bad Beginnings
“A story needs a beginning that grabs the reader and pulls him into the story,” says Lida Quillen of Twilight Times. If you can’t hook the editor with your opening line or first paragraph, the editor will assume it won’t hook the reader either. “You simply must grab me in those first few sentences,” says Ian Randall Strock of Artemis.
Dave Switzer of Challenging Destiny looks for “something new — something I haven’t seen before — on the first page. Something unique about the character or situation that makes me want to continue reading.”
One source of weak beginnings is “taking too long to cut to the chase,” according to Diane Walton of ON SPEC. “When the writer spends three pages explaining the entire history of the planet, we know we are in trouble.” Doyle Wilmoth Jr. of SpecFicWorld.com agrees, defining a slow-starting story as one in which “the writer feels that she/he needs to explain every little detail for the reader to understand.”
A story must do more than begin well; it must also fulfill the promise of that beginning. “Some new fiction writers create a very good beginning, but then do not fulfill the expectations of the reader,” says Lida Quillen. “As a writer, you want to raise the reader’s expectations, create a need to know what happens next and then satisfactorily fulfill that need.” Once you’ve “grabbed” the editor with your first sentence, your second has to keep him reading — right on to the end of the story.
Andrew Gulli of The Strand Magazine notes: “The writers I resent are those who hook you with first sentence then whole stories turn out to be boring. Often writers will write something with a beginning and ending. There is no middle.” Anne Simpson of Antigonish Review feels that “Generally speaking, a weak opening is more forgivable than a weak ending, but both should be strong for the story to work.”
Next time: Wordiness
Sunday 3 June 2012
Review: Throwaway by Heather Huffman
| Throwaway by Heather Huffman Blurb When society deemed Jessie a throwaway, she didn’t let it stop her from finding the sunshine in her world. But that world is threatened when she finds herself undeniably drawn to the mischievous glint in the eyes of a man unlike any she’s ever met before. What starts as a simple crush will lead them both on a journey they could never have anticipated. 5 out of 5 stars Really enjoyed this! I greatly enjoyed this book which had just the right level of suspense where you really didn't know what was going to happen next, balanced with a few incidents that were easy to predict but that gave the reader a satisfying feeling of “rightness”. There were a few tiny typos so perhaps the author could afford to give it a quick re-proofread, but nothing that drew the reader away from the excellent story! |
Saturday 2 June 2012
Review: Pulse and Prejudice by Colette Saucier
| 5 out of 5 stars Very well-written! For anyone who might be thinking, "Pride and Prejudice with vampires?? WTF??" Can I just say, I was blown away with how good this is. I was prepared for it to be awful and was dreading the thought of wading through a mangled adaptation of my beloved Austen. BUT it is really really good. Colette tells it mainly from Darcy's tortured POV and so many things make so much more sense when it's revealed some of the characters are vampires, it makes you think "Oh, so THAT's why such and such a person did that!" We get a lot of back story and Colette ties everything together so well. I was truly impressed, and it takes a lot to impress me. If you like P&P, you'll like this! |
Friday 1 June 2012
The trials of thinking up original names
It's virtually impossible to create normal character names that haven't been used. I am sure there are loads of Linzi Hugheses and Michelle Hamiltons.
But one of the characters in my novel "Money Can't Buy Me Love" (coming out in September with Secret Cravings Publishing) is an obnoxious footballer who plays for Manchester United. Obviously he has to be fictional as I am going to have him do all sorts of distasteful things and he is not a very nice person.
I initially gave him the name of Shane Long as I thought of a hilarious play on words on his name, which you will have to read the book to find out. Came home, told my husband all about it, said, jokingly, “I hope there isn't a real footballer with the same name.”
My husband said, “Oh I think he plays for Reading.”
Obviously I thought he was kidding at first but played along and looked him up - and guess what!
So, then I decided on Sean Long, only to discover that he plays Rugby for Hull:
Next choice was Seamus Long - surely this one had to be available. But apparently Seamus Long plays football for Waterford United in Ireland:
So unless I went with Sherlock or Sheridan, or change it entirely and lose the joke, I decided to go with Shaun Long and hope that Sean Long doesn't sue me :o(
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