Don't Look Back

Don't look back: Something may be gaining on you." Satchel Paige U.S. baseball player, 1906-1982

Today I'd like to focus on one of the best pieces of writing advice ever, the importance of moving ahead when writing a manuscript. 

As Satchel Paige says, "Don't look back." If we do, guess what's gaining on us? The possibility of not being able to complete that book!

Author Norma Beishir says, "Finish the first draft before attempting ANY changes of any kind. Otherwise, the manuscript will never get finished. I'd often give my agent or editor a first draft with the following note: 'Just tell me what's wrong with it.'"

A first draft is a first draft. Robert Masello says that amateur writers don't want to hear about drafts, because they believe that once something's written, it's done. Real writers (the ones who get published), he goes on to explain, know better. They know that the first draft is a working draft.  And it won't be perfect.  But that's alright, because real writers make it from start to finish.

One reason some don't complete their first draft is because they keep looking back.  I was talking to someone working on a children's book.  Although the story sounded awesome, and she'd thought it through from start to finish, she hadn't written that much. 

She said she just couldn't get the first few pages to sound exactly like she wanted.  I told her not to worry about that, and keep moving forward.  "You can go back and revise once you've finished writing the story."  I don't know if she took my advice, and even though she listened carefully to what I said, I don't think she liked the idea all that much!

If we keep looking back, it's as though we become stuck in the mud, obsessing over words and details. But if we move on, we see that there really is an end is in sight!  The finished product might sound  a little rough and sloppy, but that's when the hard work of revising starts, the smoothing and sanding and cutting and shaping of your story.

During revision, whole scenes may be cut and characters eliminated to keep the pace exciting and the story progressing. But the most important thing to remember is that from the rough cut of your first draft (and second, third or more), will emerge a smooth and polished manuscript.

Have you made the mistake of looking back? Are you currently revising a first (second or third) draft?

Thanks for visiting and have a great week! 

A Picture is Worth a Thousand Words: The Art of Writing Dialogue

Think of your plot as a blank linen canvas stretched over a stiff wooden frame, and your dialogue as the oil paint you will use to create a masterpiece. Well written dialogue produces a vivid image that truly brings your story to life in living color!  It’s also one of the first things agents and editors look at when reviewing a manuscript.

If dialogue is choppy, wooden and stilted, a potential agent will assume that that sets the tone for your writing, and then reject your manuscript.  For the indie published, poor dialogue is what makes a potential reader either skip a purchase, or write a very bad review!

Dialogue has many functions, but two of the most important are to advance the story and intensify the conflict, all the while keeping it natural.  So here are a few ways to craft dialogue into a more compelling and natural sounding work of art.

Red: Tension, Conflict, Emotion

In Writing Fiction For Dummies, Randy Ingermanson and Peter Economy say, “Dialogue is war! Every dialogue should be a controlled conflict between at least two characters with opposing agendas. The main purpose of dialogue is to advance the conflict of the story."  

·         Skip the pleasantries.  No one cares about the “Hi, how are yous?” Jump right into the heat of the moment.

·         Stay away from the info dump monologue.  Providing information without tension is boring.

·         Never use dialogue as filler.  Dialogue has to  heighten conflict, advance the story or display character development.  If it does none of this, hit delete.

·         Show emotional tension in dialogue through your characters actions and reactions. Perhaps a he falls silent, she interrupts, or the teen changes the subject.  

The Abstract: Loose and Free Flowing

Dialogue has to have a natural flow, but a common mistake among many new writers is to make it stiff and formal. Use these guidelines to make yours sound real:

·         Read dialogue out loud.  Does it pass the “ear test” and sound like actual conversation? Avoid fancy words.  In The Elements of Style Strunk and White say, “Do not be tempted by a twenty dollar word when there is a ten-center handy.”  "Seeing her confused him” is plain and simple. “Upon looking at her, he became discombobulated" is not.  It’s also too wordy. Streamline your dialogue and cut out unnecessary words.

·         Use contractions:  will not/ won’t, do not/ don’t, we will/we’ll, etc. They’re much less formal.

·         Think about real conversations with family and friends. It’s okay to be grammatically incorrect by ending a sentence with a preposition. “So what was that about?” sounds more realistic than “So about what was that?”  In stressful situations, you can use sentence fragments and one word answers.

·         Avoid the lecture.  A character expounding in detail about a subject will bore your reader. You’ve done your research, but it’s not necessary to show how much!

Flesh Tone: Make it Real

Stay away from unnatural dialogue.  Would your sister really say, “How’s your husband Ed and your step-son Frank, the child by Ed’s ex-wife, Beth?”  Using dialogue like that sounds artificial. Find a subtle way to convey those facts.  For example:

     “So where’s Ed?”

     “I left him at home working on my honey-do list.”

     “Is Frank helping him?”

     “No, he’s with his mom, this weekend.”

     “Beth, the wench?”

The Portrait: Provide a Distinct Voice for Each Character

Dialogue is an important part of characterization. Keep in mind the time period, age, gender, social status, education and geographic locale.

Imagine how different a Wall Street executive would sound compared to a Georgia factory worker.  White collar professionals are more likely to use correct grammar and speak in longer sentences, whereas blue collar workers might use rougher language and shorter sentences.

Take into account individual personalities: quiet, talkative, cruel, manipulative, compassionate, insecure, outgoing. Be mindful of the situations they’re in; dialogue has to be suitable for their action and reaction.

The Difference Between the Male Still Life and the Female Landscape   

According to Richard Drobnick from an article in YourTango:

“He believes communication should have a clear purpose. Behind every conversation is a problem that needs solving or a point that needs to be made.”

“She uses communication to discover how she is feeling and what it is she wants to say. She sees conversation as an act of sharing and an opportunity to increase intimacy with her partner.”

So keep in mind that men are more direct and brusque in tone. They use simpler vocabulary with fewer modifiers, and are likely to use one word responses and shorter sentences.  Instead of talking about people and feelings, they’d rather talk about things.  Also, dialogue is action for men.  Instead of discussing a way to save the heroine, the hero plans and executes it.

Women, however, love talking about people and relationships.  Their language is softer, and they’re more likely to talk around a subject.  “I’m not too happy about this,” she might say, while he says, “I’m mad as hell!”  Women express themselves in complete sentences, and want to share their feelings.

In closing, always keep your dialogue tension filled, loose, naturalistic and distinct for each individual character to create your masterpiece!

What do you like most about writing dialogue? Thanks for visiting and have a great week! 

Sometimes It's Okay to Tell and Not Show

Writers have been hearing about the importance of 'showing' for so long that they've begun to forget the value of 'telling'--of exposition, of summary, of omniscient narration." Robert Masello, Robert's Rules of Writing, Rule 12. Tell, Don't Show

This rule sounds contrary to anything most writers have ever read or been taught.  It's of course important to show everything worth showing, such as dramatic interaction and heated dialogue.  But it is acceptable to tell a few things, too.


Utilize the power of description about surroundings, what's going on inside a character's head, or in the world of your story itself. Masello points out the opening of Dickens A Tale of Two Cities, "It was the best of times, it was the worst of times."  So if Dickens can do it...

Also, things that don't need to be seen don't need to be shown.  Who wants to read about a heroine getting ready for work? We know she'll shower, style her hair, put on makeup, get dressed, make coffee and eat breakfast.

Only show these things if something important happens to affect the story. Perhaps she slips in the shower and breaks her leg, or spills hot coffee and scalds herself, etc., etc.

Masello mentions something that Elmore Leonard, a master of pacing, once said.  He keeps his books moving briskly along leaving out all the parts readers don't want to read.

Anything in your current WIP that can be told and not shown? Happy writing, and thanks for visiting! 

It's All in What You Say: Writing Dialogue

"A dialogue is more than two monologues." Max Kampelman

My favorite part of fiction writing is dialogue. It serves many purposes. And so much can be revealed about a character through his thoughts, actions and especially words he says or doesn't say. Each word clues the reader in to that particular character's identity.

I love old movies and Casablanca is one of my all time favorites! William Bayer, in his book The Great Movies, classifies it as one of the 60 greatest motion pictures of all time. Bayer says it is one of the few adventure films where the adventure takes place indoors. There are no fights or outdoor adventures. "There are, instead, adventures of verbal jousting, of dialogue and innuendo, and they are dominated, in fact ruled, by a supreme adventurer, Rick."

What makes us know Rick is an adventurer is his dialogue. Bayer outlines several snatches of it that reveal glimpses into Rick's character:

His Irony
When asked to explain why he came to Casablanca, Rick says,"I came to Casablanca for the waters."
"What waters? We're in the desert."
"I was misinformed."

His Sex Life in Casablanca:
As seen with a girl in a brief exchange. She asks," Where were you last night?"
"That's so long ago I don't remember."
"Will I see you tonight?"
"I never make plans so far in advance."

His Bitterness:
When he accuses Ingrid Bergman of having had other lovers: "Were there others in between? Or aren't you the kind that kisses and tells?"

His Urbanity:
"What is your nationality?" Major Strasser asks.
"I'm a drunkard," says Rick.

His Mystique (my favorite quote):
Claude Raines explains to Ingrid Bergman: "Rick is the kind of man that if I were a woman, I would be in love with Rick."

Besides revealing insight into your characters, dialogue moves your story along by providing important information. That's why the lines are there in the first place, and that's what keeps the reader reading!

Keep your dialogue natural sounding. Reading it out loud is a good test to hear if it sounds like a real conversation. As far as dialect, a little goes a long way. It makes your reader work too hard by having to intepret what you've written. Just throw in a few words, then leave the rest to the reader's imagination. They'll get the message regarding the character's speech pattern.

Hope this insight into dialogue has been helpful! If you haven't seen Casablanca, rent it over the weekend! It's worth it!

What's some of the best dialogue you've seen or read lately?

Thanks for visiting and have a great week!

Synopsis: Friend or Foe?

"There's nothing to writing. All you do is sit down at a typewriter and open a vein." Walter Wellesley "Red" Smith

Mention the word synopsis to any writer, and you'll elicit fear or an overwhelming dread at the thought of having to write one.

I think most authors agree that writing a synopsis is no fun! After we've worked months, or years, to refine and polish our novels, how can we reduce them to 10 pages, five, two or one page, and then whittle them down even further to a paragraph or even a single sentence?

We can't let the synopsis be our enemy. It has to be our friend to help us sell our work. If you're not familiar with what a synopsis is, here's a simple definition: the summary of a novel.

But in summarizing your novel, you want to show that editor, agent or publisher that you can tell a knock down, drag out, darn good story that they're gonna want!

One agent told me that she doesn't read the synopsis until after she's read some of the sample writing sent along with it. So remember, you're writing (the actual novel pages) will always speak louder than the synopsis, because all the synopsis is, is plotting. But regardless, it must be clean, tight and extraordinarily well written!

There are varying lengths for a synopsis, the longer lengths, of course, being the easiest! Sometimes an agent will ask for a "short synopsis." This usually means one to two pages. Page length may or may not be specified. If a "synopsis" is requested (with no page limit mentioned) you're pretty safe to send 5 pages. If a "detailed synopsis" is asked for (with no specifications), up to 10 pages is acceptable.

However, just be sure to carefully read the guidelines of whomever you're submitting to. Some agencies and publishers are very specific about the page length of the synopsis.  

The formats for a single page and a multi page document do differ. A one page synopsis is written in block paragraphs with double spaces between paragraphs. More than one page requires the entire document to be double spaced.

Still thinking the task impossible, especially the one sentence synopsis, or one line hook? Read this example from Elizabeth Lyon's The Sell Your Novel Tool Kit: "As the Civil War rages, a woman's passion for the wrong man blinds her to the love of the right one."  That's a one line synopsis for Gone With the Wind!

If you're fighting with the idea of writing a synopsis, it's time to stop. As with writing a query, there are lots of great tools out there to help, such as Blythe Camenson's and Marshall J. Cook's Your Novel Proposal, and The Sell Your Novel Tool Kit, mentioned earlier. Visit Charlotte Dillon's website at www.charlottedillon.com/SynopsisSamples.html for some great sample synopses.

Writing a synopsis can be difficult, but it can be done!

Have you written a synopsis for your latest completed work? Are there any other tools you'd like to recommend that have helped you?

Thanks for stopping by and have a great week! 

Thoughts from Anne Lamott on Avoiding Perfectionism

Anne Lamott

"Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life...I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a lot better than you and have a lot more fun while they're doing it." Anne Lamott, Bird by Bird: Some Instructions on Writing and Life


All non-perfectionists can now breathe a sigh of relief! Don't you love Ms. Lamott's wise words on avoiding it? 

In her wonderful book on writing she shows us that perfectionism is detrimental, because when striving for it in our manuscripts, we try not to leave too much of a mess to clean up.  

But she points out that the clutter we leave behind can hide precious treasures that we'll discover later. And those treasures can be put to good use by providing more material to work with once we go back to revise and edit.

Being too tidy, according to Ms. Lamott, suggests that something is as good as it's going to get. 

The important thing is to finish.  Plow ahead, make a mess! Don't worry about every little detail or whether or not it's polished enough.  That comes later, at revision time.

Have fun with that first draft; avoiding perfectionism allows a really great story to unfold!  Do you struggle with perfectionism? Thanks for visiting and have a great week!

He Says, She Says

Men and women are different--especially where communication is concerned! Ever struggle with gender specific dialogue in your fiction writing? Hope these tips will help!

Men are more direct and brusque in tone. They use simpler vocabulary with fewer modifiers, and are likely to use one word responses and shorter sentences.  Instead of talking about people and feelings, they’d rather talk about things.  

Women, however, love talking about people and relationships.  Their language is softer, and they’re more likely to talk around a subject.  “I’m not too happy about this,” she might say, while he says, “I’m mad as hell!”  Women express themselves in complete sentences, and want to share their feelings.

Today, I thought I'd pass this article along from the website Your Tango, written by Richard Drobnick of The Mars and Venus Counseling Center. It provides some information to keep in mind when writing dialogue from the perspective of the opposite sex.

He believes communication should have a clear purpose. Behind every conversation is a problem that needs solving or a point that needs to be made.

She uses communication to discover how she is feeling and what it is she wants to say. She sees conversation as an act of sharing and an opportunity to increase intimacy with her partner.

He prioritizes productivity and efficiency in his daily life, and conversation is no exception. When he tells a story he has already sorted through the muck in his own head, and shares only those details that he deems essential to the point of the story. He might wonder, "Why do women need to talk as much as they do?" Often he will interrupt a woman once he has heard enough to offer a solution.

She uses communication to explore and organize her thoughts — to discover the point of the story. She may not know what information is necessary or excessive until the words come spilling out. But a woman isn't necessarily searching for a solution when she initiates a conversation. She's looking for someone to listen and understand what she's feeling.

Do you have any tips to make dialogue sound more feminine or masculine?

Thanks for visiting and have a great week!  

Writing Bad Guys

Tom Hiddleston as Loki in The Avengers

"O villain, villain, smiling, damned villain!"  William Shakespeare (Hamlet, I, v, 106)

There's never a dull moment with a bad guy--or a bad girl.  Let's face it, creating fictional villains is just downright fun!  I, personally, hate confrontation, and the last thing I'd ever want to do is hurt someone's feelings. Perhaps writing about a mean person is cathartic for me. I've been told I do it well.  Not quite sure how to take that.  But whatever the case, it's rather exciting to write dialogue I'd actually never say, and write about nasty, villainous deeds I could never imagine being done in real life--until I see them reenacted on America's Most Wanted.      

Margaret Hamilton as The Wicked Witch
of the West in The Wizard of Oz

Villains break all the rules of decency and morality and don't care.  Lying/cheating/stealing is their MO, and political correctness doesn't exist in their world.  Heroes don't make derogatory comments regarding race or sex, but with a villain, why not?  Our heroes don't smoke, and if they drink, they're merely social drinkers. Villainous women can be portrayed promiscuous to the point of nymphomania.  And a bad man isn't into real relationships, because he's too busy using and discarding women.
  

Our heroes can be flawed individuals who have overcome some of the same demons our villains don't see as demons.  Perhaps a hero is a recovering alcoholic, recently quit smoking and still struggles, or maybe was a womanizer at one time, but no more--since finding "the one."

As the hero is flawed, the villain must be humanized.  Through back story, he or she must be seen as a person first, not a monster.  Otherwise, that character will just come off looking like a cartoon bad guy.  Reading bios of notorious criminals can help develop a believable villain.

Depending on the circumstances that molded this individual's psyche, the reading audience might feel a little sympathy (because his mother died when he was an infant, he lacked a mother's love), or make them hate him even more (because he was bitten by a dog as a child, one of his hobbies as an adult is running over dogs with his car).

How will you have fun creating your next villain or making your current one even scarier?

Thanks for stopping by and have a great week! 

From Novel to Screenplay

Gone With the Wind is  a movie that's just as phenomenal as the book it's  based on. But have you noticed that's not always the case when  a novel  is made into a motion picture?

When I first posted this article back in August of 2018, I had just started adapting one of my novels into a screenplay. That task is complete, and it was quite a learning experience! Now I understand why some movies fall flat when compared to the novels they're based on.  

Forget about introspection and long descriptions, plus subplots have to be dropped and minor characters combined or omitted in order to condense a three-hundred and fifty page novel into a one-hundred and twenty-five page screenplay. If you have ever considered turning a novel into a screenplay, here's a portion of an article from Scriptmag.com to help you start the adaptation process:

First, make a list of the following:

• The world and setting of the story.
• The 5–8 main characters of the story including the protagonist and antagonist, what their respective back stories are and why/how they come together.
• What 5 things about your main protagonist/antagonist are the most important for an audience to know.
• The major core conflict of the story and why/how this occurs.
• The most visual and key scenes in the book that connect to how that conflict plays out.
• Your 10–20 FAVORITE lines of dialogue that drive the plot, are vital to the story or character development and that really shine.
• The major overarching theme of the book.

Margaret Mitchell with her novel

Be aware that you will probably have to cut many supporting characters, subplots that don’t connect to your main storyline, and almost all of the description. Instead of two pages of character description, you only get two lines. Often, two or three different characters in a novel will be combined into ONE character in a screenplay. And what happens on the first page of the book may not be how you need to open the film. Try to nail the same tone that the original material had—as that is part of what built its fan base and that tone needs to translate on film. But the real key to adapting a book to film or adapting someone’s true story—is FOCUS and knowing how and when to take poetic license.

If you are adapting a true story, it becomes even trickier, but you need to know that changing the timeline of the original story is OK. Your primary job isn’t to be loyal to a book or to another writer or even to the main character—it’s to be loyal to the core story and yourself. You can’t show a whole lifetime on screen (except maybe in Benjamin Button), so you need to choose the most important, interesting, conflict-filled, character-building part of the book or the person’s life—and focus on that to create a tight story.

Or alternatively, if you’re adapting a small personal story, you may need to expand it to fill the screen. All those Nicholas Sparks novels are incredibly small and usually depressing, but the screenplays introduce more conflict and raise the stakes. Though not based on a book, let’s examine Academy Award nominated The Fighter, which was based on a true story. The screenwriters looked at all the material they had—all the characters, all the true things that happened, the time range of the real story—and then wrote what worked. The Amy Adams character wasn’t even in Mickey’s life at the time he won those fights. Many characters were combined and the time period was totally fudged so that the story became more cinematic and engaging but it kept the essence of the characters involved, the story and the emotion of it all.

That’s exactly what your job is when adapting a book or person’s true life story. Much like in life, learning to adapt is often a difficult process but can be one of the keys to success. Keep writing!

For the complete article, click here.

Have you ever written a screenplay or considered writing one? Thanks for visiting and have a great week! 

Synopsis: Friend or Foe?

"There's nothing to writing. All you do is sit down at a typewriter and open a vein." Walter Wellesley "Red" Smith

Mention the word synopsis to any writer, and you'll elicit fear or an overwhelming dread at the thought of having to write one.

I think most authors agree that writing a synopsis is no fun! After we've worked months, or years, to refine and polish our novels, how can we reduce them to 10 pages, five, two or one page, and then whittle them down even further to a paragraph or even a single sentence?

We can't let the synopsis be our enemy. It has to be our friend to help us sell our work. If you're not familiar with what a synopsis is, here's a simple definition: the summary of a novel.

But in summarizing your novel, you want to show that editor, agent or publisher that you can tell a knock down, drag out, darn good story that they're gonna want!

One agent told me that she doesn't read the synopsis until after she's read some of the sample writing sent along with it. So remember, you're writing (the actual novel pages) will always speak louder than the synopsis, because all the synopsis is, is plotting. But regardless, it must be clean, tight and extraordinarily well written!

There are varying lengths for a synopsis, the longer lengths, of course, being the easiest! Sometimes an agent will ask for a "short synopsis." This usually means one to two pages. Page length may or may not be specified. If a "synopsis" is requested (with no page limit mentioned) you're pretty safe to send 5 pages. If a "detailed synopsis" is asked for (with no specifications), up to 10 pages is acceptable.

However, just be sure to carefully read the guidelines of whomever you're submitting to. Some agencies and publishers are very specific about the page length of the synopsis.  

The formats for a single page and a multi page document do differ. A one page synopsis is written in block paragraphs with double spaces between paragraphs. More than one page requires the entire document to be double spaced.

Still thinking the task impossible, especially the one sentence synopsis, or one line hook? Read this example from Elizabeth Lyon's The Sell Your Novel Tool Kit: "As the Civil War rages, a woman's passion for the wrong man blinds her to the love of the right one."  That's a one line synopsis for Gone With the Wind!

If you're fighting with the idea of writing a synopsis, it's time to stop. As with writing a query, there are lots of great tools out there to help, such as Blythe Camenson's and Marshall J. Cook's Your Novel Proposal, and The Sell Your Novel Tool Kit, mentioned earlier. Visit Charlotte Dillon's website at www.charlottedillon.com/SynopsisSamples.html for some great sample synopses.

Writing a synopsis can be difficult, but it can be done!

Have you written a synopsis for your latest completed work? Are there any other tools you'd like to recommend that have helped you?

Thanks for stopping by and have a great week!

On Writing Right

Stephen King is extraordinary, a master storyteller. Back around 1986, I read my first Stephen King book, Pet Sematary, a gripping novel that kept me up late at night turning pages. When I'd force myself to go to sleep, I kept the lights on. Even after I finished reading it, I slept with the lights on for two weeks afterward.

Well, I'm glad to report that I'm finally reading my second Stephen King book! One that won't scare the living daylights out of me, but will allow me to sleep with the lights out. Today I started King's On Writing: A Memoir of the Craft. Although his horror novels scare me too much to read, he is a true master of the craft and I'm looking forward to what I'll learn.

In his Second Foreward, King states that his book is short because "most books about writing are filled with bull****." He notes that one "notable exception to the bull**** rule is The Elements of Style by William Strunk Jr. and E.B. White." He goes on to say that there is little or no detectable bull**** in that book.

After reading Mr. King's statement about books on writing, I thought I'd share a few of my favorites--and they're short with no detectable waste products:

• The Elements of Style is a must read for anyone who's serious about writing. Before even starting a novel, read and re-read Chapter 5: An Approach to Style. It'll save you from many common mistakes of first time authors.


• On Writing Romance: How to Craft a Novel that Sells by Leigh Michaels is an excellent writer's resource. Even if you're not a romance writer, Ms. Michaels offers helpful advice that can apply to all genres. In the appendices, she includes helpful information on crafting query letters, synopses, and cover letters.


• Robert's Rules of Writing: 101 Unconventional Lessons Every Writer Needs to Know by Robert Masello provides useful instruction pertaining to novels, screenplays, stage plays, memoirs, periodical articles, and non-fiction. Each rule (ranging from 1-3 pages) is jam packed with excellent advice that will improve your work--and leave you feeling like you can write anything!

What are some of your favorite books on the writing craft?

This is reprinted from 2010.  I finished the book long ago and I highly recommend!

Avoiding the Dreaded Info Dump

"Don't tell me the moon is shining; show me the glint of light on broken glass." Anton Chekhov

We've all read craft books which explain that in our writing, we should show, not tell.

Okay, so I admit it, I thought I could get away with telling and not showing! I'm rewriting a novel I started over 10 years ago. A chapter I read to my critique group over the weekend started off with three pages of back story.  Needless to say,they wouldn't let me get away with that!  I was told that I was depriving the reader--which is true!

So today I'm rewriting again, and actually looking forward to it.  Describing a scene, and interweaving back story into is much more exciting for the reader--and won't put her to sleep.

Instead of me explaining what two weeks in Oberlin, Ohio has been like for a newly escaped slave, I can show her interacting with another character.  In my original draft, she merely thinks about this particular character, and how said character shows disdain for her.  She also reflects upon her new life and all the changes she's seen.

Now I'll need to create a scenario that enables me to show the newly escaped slave with the character who doesn't like her.  This will make for a fun interplay, and the dialogue between them (when not catty) can reveal some of the back story.  More elements of the back story can be woven in at a later time, and some aren't really necessary at all to keep the story moving.

So, no shortcuts, please!  Avoid that dreaded info dump, and show, don't tell!

Have you done an info dump lately?  Thanks so much for visiting today!

Originally published 1/24/11

Sometimes It's Okay to Tell and Not Show

Writers have been hearing about the importance of 'showing' for so long that they've begun to forget the value of 'telling'--of exposition, of summary, of omniscient narration." Robert Masello, Robert's Rules of Writing, Rule 12. Tell, Don't Show

This rule sounds contrary to anything most writers have ever read or been taught.  It's of course important to show everything worth showing, such as dramatic interaction and heated dialogue.  But it is acceptable to tell a few things, too.


Utilize the power of description about surroundings, what's going on inside a character's head, or in the world of your story itself. Masello points out the opening of Dickens A Tale of Two Cities, "It was the best of times, it was the worst of times."  So if Dickens can do it...

Also, things that don't need to be seen don't need to be shown.  Who wants to read about a heroine getting ready for work? We know she'll shower, style her hair, put on makeup, get dressed, make coffee and eat breakfast.

Only show these things if something important happens to affect the story. Perhaps she slips in the shower and breaks her leg, or spills hot coffee and scalds herself, etc., etc.

Masello mentions something that Elmore Leonard, a master of pacing, once said.  He keeps his books moving briskly along leaving out all the parts readers don't want to read.

Anything in your current WIP that can be told and not shown? Happy writing, and thanks for visiting!

Originally published 3/14/11

Humor: Don't Force the Issue

"When I say humor is a great addition to most any piece, I mean humor that's actually, well...funny."  Robert Masello from Robert's Rules of Writing (Rule 78. Make 'Em Laugh)

Humor is a good way to lighten the mood of a narrative during scenes filled with darkness and intensity, and a nice dose of it is a great addition to any story.  As Masello says, "...it's the leavening agent that can lighten up even the heaviest material."  But not everyone is born with a sense of humor.  So, if humor lacks from the individual, it shouldn't be forced into print.  Whatever is trying to be written as funny by the humorless writer, might come off as sounding stiff and unnatural to the reading, or viewing audience.

F. Scott Fitzgerald was hired as one of many writers to transform Gone With the Wind into a screenplay.  What I just learned recently, from the GWTW But Not Forgotten Facebook Page, was that he was let go because he couldn't make Aunt Pittypat sound funny!  Who can ever forget Aunt Pittypat riding off during the explosions, as the Yankees are approaching to attack Atlanta?  Flabbergasted and flustered she yells, "Uncle Peter, my smelling salts..."

Some people are naturally funny.  Those that are tend to be laid back and don't take themselves too seriously.  They can see the humor even in serious situations, and are usually optimistic.

But it takes more than funny people to make the world go around. Those who aren't funny sometimes tend to be more serious, tense, critical and pessimistic.  If you've ever said to someone (or someone has said to you), "You have no sense of humor," and you've gotten a reaction like this (or you've reacted this way, after angrily slamming down a fist), "I DO SO have a sense of humor,"chances are, that person (or you) may very well not.  But that's okay, not everyone is born with the humor gene.

Now, if you're a funny person and a writer, and you have a humorless friend who's a writer, too, let him know you'd be happy to help infuse a little humor into his narrative, if he's at all interested.  Even if he claims there's plenty of funny stuff he's already written, offer to read it and see if it sounds funny to you.  If someone has to stretch and strain to be funny, and what's written is beyond their "comfort zone," that can be some pretty painful  reading.

Do you or don't you have a sense of humor? Thanks for visiting and have a great week!

Harsh But Eye-Opening Writing Tips

Not great, but it's only the first draft...

Here are ten hard-hitting writing tips from Cody Delistraty's article 21 Harsh But Eye-Opening Writing Tips From Great Authors.  

1. The first draft of everything is sh**. -Ernest Hemingway

2. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious a**. -David Ogilvy

3. If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy. – Dorothy Parker

4. Notice how many of the Olympic athletes effusively thanked their mothers for their success? “She drove me to my practice at four in the morning,” etc. Writing is not figure skating or skiing. Your mother will not make you a writer. My advice to any young person who wants to write is: leave home. -Paul Theroux

5. I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide. — Harper Lee

6. You can’t wait for inspiration. You have to go after it with a club. ― Jack London

7. Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. — George Orwell

8. There are three rules for writing a novel. Unfortunately, no one knows what they are. ― W. Somerset Maugham

9. If you don’t have time to read, you don’t have the time — or the tools — to write. Simple as that. – Stephen King

10. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong. – Neil Gaiman

For all 21 tips, click here.

Do you have a harsh but eye-opening tip to share?

Thanks for visiting and have a great week!

Originally published 12/12/16 

Writing Tips From 24

Writing Tips From 24

I just discovered that the television program 24 is available on Amazon Prime. I loved that show and just might be tempted to do a little binge watching since it's been off the air for a while and I can't remember all the story lines.

During its original eight seasons, I picked up quite a few tips on compelling story telling.

The cliffhanger hooks were always exciting, leaving unanswered questions, the foreshadowing of an attack, or a love dilemma.  If you've ever had trouble formulating a hook to close a chapter, 24 just might inspire you!

As writers, in any story we look for goal, motivation and conflict.  In 24, the main GMC was as follows:

Goal: To keep the country safe from terrorism

Motivation: The safety of the American people 

Conflict: The terrorists want to terrorize, the federal agents want to stop them

But look for the GMC in the characters, as well:  

• Who has to work with whom, and why is this a problem? 
• Who has something to prove and why?  
• Who has lost something significant and how does this affect his/her job performance?  
• What is the conflict within the terrorist organization that will keep it from performing effectively?  
• What conflict keeps the government in pursuit of the wrong lead? 
• How detrimental will a past love be to a high ranking government official?

You can't have a good story without conflict, and 24 delivers! Were you a fan of 24? Also, do you have a favorite television show that's inspired your writing technique?

Thanks for visiting and have a great week!