Tag Archives: fiction

How to Talk About Policing In Crime Fiction

A few weeks back, I was drinking with some buddies at a writers’ convention when I felt a tap on the shoulder.

“I want to introduce you to a fan,” someone said.

Like any dignified author at this stage of my career, I whipped around so fast that the Brooklyn Lager bottle nearly flew out of my hand. A man in his sixties stood before me with his hand out—square-jawed, clear-eyed and firm of grip, in a well-tailored suit. He looked like exactly the kind of well-respected man who smiles and says “I don’t read novels” when I meet him in other circumstances. Exactly the kind of reader I’ve been trying to win over for most of my career. A prosecutor, I was told. Even better! Someone who had been in the trenches and would appreciate the nuances and shades of gray I tried to bring out in my novels.

“I just want to see you people get it right,” he said, shaking my hand.

“Thank you.” You people?

“Every week, I never miss the show.”

“Oh, that’s terrific.” I nodded. “Glad you like it. I’ll tell my friends who work on it.”

Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

We exchanged a few more pleasantries and then went back to our conversations. And quietly, I laughed at myself. Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

Now don’t get me wrong. I’m not anti-cop by any means. In fact, I wanted to be a police officer for most of my childhood. And I don’t even think it’s enough to say, as many leftists like myself grudgingly do, “the police have a tough job.” There are parts of police culture that I don’t just respect, I envy. The hard work, the diligence, the ability to knock on doors day and night and talk to literarily anyone. And the humor. For Christ’s sakes, no one tells darker jokes or can make you laugh harder than an honest cop after a few drinks.

I have more than a few good friends who I revere in various police departments, and truth be told there have many years when I would have had a very hard time doing my job without them. Their stories need to be told, and I’m proud to have been among the people telling them, and grateful to have had the opportunity.

But those aren’t the only stories.

***

About a month after the writers’ convention, I had lunch with a guy I know named Sundhe Moses. We met at Junior’s, on Flatbush Avenue in Brooklyn, near the housing project where he grew up. Sundhe spent 18 years in prison for allegedly shooting and killing a four-year-old girl as she roller-skated past a building in Brownsville. Earlier this year, Sundhe’s conviction was overturned and his name was cleared. In the decision, the judge cited the involvement of one Detective Louis Scarcella, who Sundhe said had coerced him into making a false confession by beating him and choking him. Scarcella denied doing any such thing, but it’s worth noting that twelve other convictions have been overturned so far in cases where the same detective is said to have abused defendants, fabricated confessions, and—this is true—used the same crack addict-prostitute as a key witness in six separate investigations.

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

Now it just so happens that I’m about to publish a novel about a cop who may be a serial killer. Such a thing is possible. A former California police officer named Joseph DeAngelo now stands accused of being the Golden State Killer, responsible for at least a dozen murders and more than fifty rapes over a forty-year period. And there are other cases around the world, including the infamous 10 Rillington Place killer John Christie, a War Reserve police officer who raped and strangled seven women in the 1950s.

But my novel, Sunrise Highway, isn’t really about that kind of individual pathology. It’s about how the rest of us could allow it to happen, in smaller ways, by being complacent, self-satisfied, or comfortable with the status quo. Making the decision not to ask the wrong questions at the wrong time, because it would unsettle the system and make our lives more complicated.

I wanted to tell a story about the pathology of a system that would not only permit a criminal to survive within it, but to rise up and get promoted as a leader (obviously, that couldn’t happen in, say, politics or corporate life). Yes, there have been books, a few movies, and a couple of TV shows like The Shield about individual dirty cops, but those are the exceptions. Most audiences want the lines between good and evil to be drawn clearly, and they want the heroes to trail no shadows in their wake. I wanted to write a book that asked some tougher questions about the world we’re living in.

“It’s not just the Scarcellas doing it on their own,” Sundhe told me. “A lot of other people have to be involved when there’s an injustice like this.”

I think it’s no accident that there’s never been a long-running TV show (at least none that I can think of) about a lawyer or a cop who defends the innocent and gets them out of jail. People want familiar stories after a long day at work and they certainly don’t want to be lectured. And I don’t blame them. I’m not in the business of lecturing anybody or showing them the light anyway. What I do want to do is give you something you’re not expecting, a suspenseful story from an angle that you might not have considered. And if you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good. And getting down to the reality of that can be as riveting and scary as Silence of the Lambs.

If you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good.

At the end of our meal, Sundhe, who is writing a book about his experiences, started talking about the difference between real life and what you see on the screen.

“You know what’s funny?” he said as the waitress dropped the check next to the pickles and cole slaw. “The other night I was watching a horror movie with my girlfriend. Can’t think of the name but there was all this tension in it because the killer was stalking this woman and her daughter.”

“Yeah?” I shrugged and picked up my water, thinking it could be one of a thousand films.

“And then at the end, just when you think they’re going to escape, he kills them both.”

“Ha.” I put down my glass. “Didn’t see that coming.”

“No.” Sundhe nodded. “And my girlfriend hated it. Because she didn’t think that’s how it was going to be. But sometimes life is like that. You don’t always get the ending you want.”

Source: crimereads.com

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Un-dead Darlings

Please welcome guest Barbara Linn Probst to WU today! Barbara is a writer, teacher, researcher, and clinician living on a historic dirt road in New York’s Hudson Valley. She holds a PhD in clinical social work and is a dedicated amateur pianist. She is also the author of When the Labels Don’t Fit–a groundbreaking book on nurturing out-of-the-box children. To learn more about Barbara and her work, please visit her website: http://www.barbaralinnprobst.com/

Un-dead Darlings

Kill those darlings.

We all know the cliché (actually, it was Faulkner, not Stephen King, who coined the phrase) and, accepting its wisdom, do our best to kill those beloveds no matter how much it hurts. Sentences, paragraphs, whole scenes – deleted, leaving a cleaner and stronger narrative.

Deleted from the story, but not from our laptops or minds. Many of us (okay, me, but I bet I’m not the only one) squirrel them away, hoping we’ll be able to squeeze them into a future manuscript.

Of course, that rarely works. Unless, by some amazing chance, a grandfather scene exactly like the one I just deleted is precisely what the new book needs, the darlings need to stay in their coffins.

However, there are other possibilities for this excised material if we abandon the idea of keeping our darlings intact as chunks of prose and consider, instead, what they indicate, arise from, and serve.

A good way to do that is by adjusting the lens and zooming in or out. Zooming in means identifying small bits of language that can be extracted from their context. An image, a descriptive detail, a noun or verb that captures a particular sensation – that may be all that’s worth saving from the passage.

In stockpiling these usable phrases, it’s important to note their referents so you’re clear about how they might be used later. Does a phrase denote arrogance, the experience of unexpected emotional softening, a sense of foreboding? Later, you might be searching for a way to convey that very quality, and you’ll have a private dictionary to turn to. Retaining the meaning, along with the words, also helps to check the tendency to insert a phrase where it doesn’t really belong, simply because you can’t stand not to use it somewhere – the hallmark of a soon-to-be-dead-again darling.

Zooming out, in contrast, means stepping back from the specifics of what you’ve written to its source. What was that grandfather scene really about? Was it remorse at having taken someone for granted, nostalgia for a sense of safety that’s no longer possible? Perhaps it was the yearning to be someone’s favorite again, or the memory of a child’s frustration in not understanding an older person’s allusions. What was the feeling at the scene’s core, and why did it matter to my character? What purpose did I think it would serve in the story?

These sensations, intentions, aversions, and desires are only accessible when you zoom out and view the passage from a wider perspective, letting the trees blur so you can see the forest – that is, ignoring the words so you can perceive their source.

You may not need to retain the specific words and sentences. Often, in fact, it’s best not to – since they can influence, limit, and obstruct your vision – but their source can become a wellspring for fresh material. By letting go of the verbal formulation and connecting, instead, with the origin of the deleted material, you’re free to discover new possibilities.

To give an example:

In my earlier now-abandoned novel, the adult daughter of the protagonist was writing a master’s thesis on Georgia O’Keeffe.  The “reason” I had her doing that (ouch) was so I could sneak in a backstory scene in which the protagonist came upon O’Keeffe’s Black Iris and had a profoundly transformative experience. The adult daughter’s thesis served no real purpose in the story, however, nor did the museum scene. They were, appropriately, killed off.

Yet there was something about the O’Keeffe painting that stayed with me – something it implied and evoked that I needed to express. It noodled around in that murky in-between part of the brain where creativity often occurs and then burst into life unexpectedly a year later, providing the genesis for the (much better) novel I’m currently working on. Without that now-dead darling, the new novel wouldn’t exist.

Zooming in and zooming out are inverse processes. In the first, context is discarded, freeing the words from their moorings; the focus is narrow, precise. In the second, words themselves are discarded, freeing the intention that gave rise to them; the focus is wide, diffuse, not yet confined to a specific manifestation. In neither case is the “darling” preserved intact, in the hope of shoe-horning it into a new slot. We’ve all tried that, and it doesn’t work.

We need not adopt either strategy, of course. Darlings can stay dead. But that would be a shame, since they often contain much that’s of value. That’s why we love them.

Do you, like me, have a file of deleted material?

What life might the material still contain if you approach it in a fresh way?

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Today’s #AtoZChallenge: Genres–Zombie Apocalypse

The A to Z Challenge asks bloggers to post every day except Sundays during the month of April on a thematic topic. This year, my second year with A to Z, I’ll cover writing genres.

Definition

Zombie Apocalypse: in which the widespread rise of zombies hostile to human life engages in a general assault on civilization

Tipsa to z

  1. The literary subtext of a zombie apocalypse is usually that civilization is inherently fragile in the face of truly unprecedented threats and that most individuals cannot be relied upon to support the greater good if the personal cost becomes too high.
  2. For a zombie event to be apocalyptic, it needs to involve a large number of undead, shambling around, or, if you’re into the more modern zombies, running.
  3. Being undead must be spreading throughout the population or it’s not apocalyptic.
  4. Initial contacts with zombies must be extremely traumatic, causing shock, panic, disbelief and possibly denial, and hampering survivors’ ability to deal with hostile encounters.
  5. The response of authorities to the threat must be slower than its rate of growth, giving the zombie plague time to expand beyond containment.
  6. The society must collapse as zombies take full control while small groups of the living must fight for their survival.
  7. Zombiism must not only spread throughout a population but throughout the geography. It can’t be contained in a single area.
  8. The stories usually follow a single group of survivors, caught up in the sudden rush of the crisis.
  9. The narrative generally progresses from the onset of the zombie plague, then initial attempts to seek the aid of authorities, the failure of those authorities, through to the sudden catastrophic collapse of all large-scale organization and the characters’ subsequent attempts to survive on their own.
  10. Such stories are often squarely focused on the way their characters react to such an extreme catastrophe, and how their personalities are changed by the stress, often acting on more primal motivations (fear, self-preservation) than they would display in normal life.

Popular Books

  1. Day by Day Armageddon by J.L. Bourne
  2. Dawn of the Dead by by George A. Romero
  3. Forest of Hands and Teeth by Carrie Ryan
  4. The Girl with All the Gifts by M.R. Carey
  5. The Mammoth Book of Zombie Apocalypse by Stephen Jones
  6. Pride and Prejudice and Zombies by Seth Grahame-Smith
  7. The Walking Dead by Robert Kirkman
  8. World War Z by Max Brooks
  9. The Z Word (Apocalypse Babes) by Bella Street
  10. Zone One by Colson Whitehead

Click for complete list of  2018 A to Z genres

By Jacqui Murray
Source: worddreams.wordpress.com

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LATE-LIFE FICTION NEVER GETS OLD

“The sooner growing older is stripped of reflexive dread, the better equipped we are to benefit from the countless ways in which it can enrich us.” ―  Ashton Applewhite, This Chair Rocks: A Manifesto Against Ageism

Time to Tell the Stories

Don’t tell me I am too old for that.

I know how it feels, perhaps you do too……to be 60, 70, or even 80, reminding yourself that you can no longer do what you once could, wondering if you should even try.

It is instinctive, I suppose, the need to push back against those perceived limitations. Accepting that ‘age-based’ prognosis feels so much like giving up, as though my forty-year-old mind is surrendering to my eighty-year-old body. After all, I arrived at retirement years ago knowing there were still things to do, feelings to experience, mysteries to explore…along with the surprising realization that there were stories I wanted to tell.

Scratching the Writing Itch

To be sure my literary adventures, the stories I wanted to tell, have taken me down roads less traveled, but that has been the beauty of it. In this day of high-tech, low-cost Print-on-Demand publishing my storytelling efforts have not been held hostage by agents, publishers, critics, or my modest bank account. I am writing to please myself…and thankful for the opportunity to do that, even when I am my harshest critic.

Yet those less-traveled highways offer their own storytelling choices. One fork in the road may have me creating a warm and fuzzy, happily-ever-after tale, while the next one leads to twists, turns, and dangerous intersections…where unseen troubles may lurk.

Late-Life Fiction

Perhaps you can guess which path my late-life travels have taken.

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davis I call it Late-Life Fiction. It’s an obscure corner of the storytelling universe that feels like home to me.

In the course of twelve Tanner Chronicles books, my fictional friends have faced a litany of October and November challenges…good times and bad, illness and accidents, poverty and depression. Still, like real life, a healthy dose of caring love can soften even the harshest trauma. Consider, for instance, stories that include:

* Returning to the scene of an earlier desertion
* Wooing the stroke-stricken lady who was his high school crush
* A Second Chance pursuit has men playing with guns
* The down and out couple who are Going Poor together
* An infatuated pair too timid to take a relational chance.
* Life, love, and frustration with an Alzheimer’s spouse
* Life partners lost and found
* Second loves found, then lost

Even the longest journey may begin with a single stumble.

The November Adventure Stories

I have spent the last couple of weeks exploring the possibility of a new ‘November adventure’ story. In the process, I have paused a time or two to ask myself if I am on to something real. Or is the story I have in mind more apt to be cataloged under ‘Adult Fantasy’? In that case, I probably ought to turn up my oxygen, lay back, and chill out.
We all understand, of course, that ‘adventure’ is a relative term. I know beyond a doubt that the septuagenarian friends whose story I will be telling are more timid than bold, and more tentative than confident. But they have been around the block a time or two, and are the sort who keep trying, even in the face of long odds.

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davisStill, the questions remain. Can I imagine, and then tell, a convincing story about a handful of seventy-five-year-olds who are inexplicably convinced that they still have things to do, to see, to learn, and become?

Am I the only one?

Before long the next round of questions had bubbled to the surface. Am I the only November remnant, male or female, who harbors childish notions of how much potential Becoming remains at my age? Am I whistling in the dark …unwilling to face the reality of a worn-out, used-up life standing at the edge of a steep and slippery slope?

Of course, it is an ego thing …telling a tale about old folks who are unready to cash in their chips so soon, reluctant to discard the dreams they have nurtured for so long. From beginning to end my goal will be storytelling, not literature. I aim to make it quality storytelling.

Once Upon a Time, We Were…

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davisAny story that deals with what my creaky old friends can still do, and not do, will necessarily include age-appropriate depictions of the dynamic, idealistic young men and women they like to believe they once were.

Will I be able to put into words the challenges my November Knights and their ladies face? Will their geriatric capabilities be enough to win the day?

How about telling your own story?

Now or Never

What if you are among the multitude of October wannabe writers, most of whom do not share my unorthodox interest in Geriatric Adolescent fiction? Let’s say that your sort of story takes you somewhere else. Well, my friend, you are in luck. For no matter what you write, today’s self-publishing universe has a place for you.

First, however, let’s begin with this bit of cold reality. The latest numbers I have found indicate that more than 700,000 different e-books were self-published in the US in 2016. That’s right……a couple thousand a day, every day of the year. That, my friend, is serious competition, which ought to temper anyone’s expectations of finding an audience. Of course, your book might be the one that rises above the crowd, but I wouldn’t bet the farm on it.

In my aging mind, the best approach to that reality has been to tell the stories I want to tell, the way I want to tell them, and take pride in my creations. At the end of the day, if they make a dollar or two, that’s great. If they don’t, I am still left with what I wanted.

I have charged ahead knowing that everyday people in every corner of the world are writing and self-publishing a growing tide of novels, family histories, family adventures, self-help manuals, even coloring books. Best of all in my tired old eyes, publishing an original novel in e-book and paperback formats and scoring your own Amazon Author’s page can be done for next to nothing. I have done that twenty times, beginning at age sixty-nine. You can too.

Rattle Those Bones

What’s in your closet?

Forty-five years ago our family moved to England so I could write the novel I knew was in me. We spent most of a year there, living out my foolish notion that serious writing required an exotic locale. Turned out that Winchester filled the ‘exotic’ bill much better than my original typed manuscript, which lay on a closet shelf for more than forty years before I resurrected it, whipped it into shape, and self-published it three years ago. As literature, it may have left something to be desired. As a memento of a particular time in a special place, it means a great deal to me.

By the time I was through with that project Roma was suggesting that we create a new story, recounting our family’s English adventure…the life we lived there, the sights we saw, the mistakes we made, and the life-long friends we met. The two of us spent a few months creating the story, before ordering five copies of the handsome paperback edition for Christmas gifts. Our total investment, from beginning to end was $37.00.

Is This the Day?

What is your life calendar telling you?

I cannot in good faith recommend late-life writing and self-publishing as the means to strike it rich. Yet, as an affordable and satisfying creative experience, it hits all the right notes for me.

Storytelling has allowed my June/July mind to engage with my October/November body, as I depict the forces of late-life playing in the lives I am creating.

That has worked for me.

Hopefully, others will find my results worth reading.

By Gil Stewart
Source: twodropsofink.com

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The 3 Secrets to Addictive Fiction

In today’s unbelievably competitive industry, how can you make your fiction the best?

Addict your reader.

Make reading your stories and novels an addictive experience. The reader who is addicted to your writing will plunge into your fiction and then fight to stay there forever.

But how can you addict your reader to your stories?

Use the secrets that all great authors have used throughout the ages to give the reader exactly what they want. There are literally thousands of these secrets, but in my work as an independent editor I have prioritized them and categorized them into the simplest possible arrangement—three basic categories.

I teach fiction through its three aspects:

1. character
2. plot
3. prose

However, beyond than that, I teach the secrets to making these three aspects addictive:

1. unforgettable character
2. inescapable plot
3. mesmerizing prose

 

Secret #1 Unforgettable Character

The most fundamental truism of fiction is that all great plot grows out of character.

You can design any type of plot you like. However, if it’s not grounded in the character of your protagonist, it will be nothing but a mish-mash of events from which the reader can disengage at any time and walk away.

On the other hand, you can design almost no plot at all, and if it’s grown entirely from the character of your protagonist, the reader will not only be addicted to your work, they’ll convince all their friends and relatives to become addicted as well.

Ask yourself:

How did James Bond become a cultural icon, although his plots are repetitive and he must frequently be rescued by a young woman he’s just met? What made Agatha Christie a phenomenon of her genre, although her mysteries so often hinge on her villains’ implausible acting skills and even authorial cheating? Why do we still love Cathy and Heathcliff, although Wuthering Heights is so bizarrely organized and consists almost entirely of a laundry list of inhuman behavior?

Because Bond, Miss Marple, Hercule Poirot, Cathy and Heathcliff are the unforgettable characters from which their plots grow.

This means that character is where we always start.

So how do we make this character unforgettable? That work is based upon the character’s conflicting internal needs. These needs must be internal or they won’t be powerful enough to fuel an entire novel. They must conflict, or there won’t be any climax to this story. And they can be explored most effectively through the three basic human needs: love, survival and justice.

There’s a lot to discuss about a protagonist’s conflicting internal needs. And I’ll teach you all about them in my 2nd guest post for Write to Done: The 2 Steps to Creating Unforgettable Character.

Secret #2 Inescapable Plot

Now what is this unforgettable character going to do?

A story—short fiction or novel—is, at its most fundamental, simply an opportunity for the reader to spend time with your unforgettable character. To make friends with them. To bond. To allow this character to become a part of their life.

This means you must design a plot that gives the freest possible reins to the protagonist’s character—exploring it, exposing it, delving into it to reveal its most intriguing and hidden facets.

The paperback genre industry of the early 20th century can teach us everything we need to know about how to design plot. Those authors cranked out their genre novels regularly and reliably, treating fiction as a day job to which they showed up and worked five days a week, 45-50 weeks of the year.

What do readers get out of genre fiction?

A plot that hooks them quickly, takes them for a thrilling whirl, then throws them off a cliff.

This is rooted in our human addiction to things that come in threes: the simplest construct that exists that also retains a crucial layer of complexity.

And this is why I teach three-act structure: Hook, Development, Climax.

Within these three acts, we can refine our design based upon the importance of climax. Each act has a unique purpose, to which we can devote a full half of that act. And each act also needs a climax, to which we can devote the other full half of that act. That’s how important climax is.

Once we have these six structural pieces, we can refine our design even further by breaking each piece into six more pieces. In this way, we can quickly and easily design a plot of 36 pieces along a specific pattern.

I call this holographic design.

The reader has already unconsciously adopted this pattern through the reading of their first great story. It’s what they expect. Because it’s great storytelling. And, through proper design, it’s what we can regularly, reliably give them.

But how do we turn this simple design into a rollercoaster ride, one that will keep the reader addicted on every single page? There’s a counter-intuitive trick to this that gives your plot the essential contrast that throws your entire design into three-dimensional relief, gripping your reader, meeting their unconscious expectations, and making your plot inescapable.

I’ll teach you all about this in detail in my 3rd guest post for Write to Done: The 4 Steps to Designing Inescapable Plot.

Secret #3 Mesmerizing Prose

Finally there is the writing of this character-grown plot.

How do you turn a brilliant, well-developed idea into a novel of some 70,000-100,000 words—a novel that the reader can’t forget, can’t escape, can hardly put down even for a minute? Because 70,000-100,000 are a whole lot of words. And the reader has a life to live.

How do you write a novel that’s mesmerizing? One to which the reader is addicted?

You’ll hear a lot in the writing community these days about how to make time to write, how to write faster and more efficiently, how to get your manuscript finished. This advice is mostly about time management, on the assumption that your life is not set up for endless hours in front of the keyboard. However, focusing upon time management misses a crucial element of writing: you write because you love to.

Truly, if writing is not the one thing you love to do above all else, then go find out what is and do that. Life is too short for wasting on doing things you don’t love.

And if writing is the one thing you love to do above all else, then you don’t need time management. You need stamina. You need to stay in touch with your passion. You need, especially, to know what you’re doing.

Only through a combination of your passion and an understanding of your work can you make your time at the keyboard as productive as humanly possible. Only in this way can you produce manuscripts full of life, while also devoting yourself to the life that is your own.

Your first goal, of course, is to get a draft written. But there are tricks to the efficient writing of a first draft. And there are certainly techniques to editing that draft into polished prose.

I’ve developed a set of guidelines that I use for writing quick first drafts and then turning my clients’ drafts into powerful professional prose. And I often teach my clients these guidelines. Of course, I never teach them all—those are my trade secrets. But I learned them all from the published works of great authors. And you can too.

All you have to do is study in-depth hundreds novels line-by-line and practice for thousands of hours in order to discover what makes writing clear, strong, and vivid. Mesmerizing.

To which authors and stories are you addicted? Why?

By Victoria Mixon
Source: writetodone.com

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Fiction Writing Exercises: Narrative Arcs

Today’s fiction writing exercise is an excerpt from my book, Story Drills: Fiction Writing Exercises. This one focuses on story structure and examines narrative arcs within stories and across multiple scenes and installments of a story. Enjoy!
Narrative Arcs

An arc has a beginning, a middle, and an end. The events within an arc result in some kind of change for the story world, characters, or direction of the plot.

In serial or episodic storytelling, a story arc is an ongoing story line that spans multiple installments. An arc might last through several episodes of a television show or several issues of a comic book. In literature, an arc might stretch across multiple books in a series.

A narrative arc (or dramatic arc) is similar to a story arc, except it doesn’t have to occur across multiple installments of episodic storytelling. A narrative arc is any arc within a story, including the central plot and any subplots. Narrative arcs can occur within a single scene or span across a sequence of scenes.

Characters also experience arcs when they undergo a progression of transformation.

That’s a lot of different types of arcs. To make matters more confusing, the terms for story arcs, narrative arcs, and dramatic arcs are often used interchangeably.

Study:

You can use any type of story for this exercise: books, comics, TV shows, or films. Find a series that you’ve enjoyed, and examine a small sample of installments. For example, you can look at five episodes from a TV show or three novels from a series. Make sure you’re using serials, which use ongoing stories across multiple installments, rather than episodic installments, which are separate but loosely connected.

Make a list of three to five story arcs found across the installments you examined. Do the arcs intertwine? Are they occurring simultaneously, or are they consecutive? How does each arc relate to the central plot?
Practice:

Create a set of three story arcs that would span multiple novels in a series. If you’re already working on a series, feel free to create arcs within your project.

For example, start by writing quick summaries of at least five novels in a series (about one paragraph each, highlighting the central plot of each installment). Then come up with the three arcs, each of which would span multiple novels.

As an alternative, you can develop ideas for a television or comic book series.
Questions:

What is the difference between a story arc and a dramatic arc? Why are story arcs effective in serial storytelling? How is a character arc different from a narrative arc? What types of arcs are most important in storytelling?

By Melissa Donovan
Source: writingforward.com

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9 Quick Fixes For Short Story Writers Who Run Out Of Ideas

It is Short Story Africa Day on 21 June each year! It is the shortest day in the southern hemisphere.

To celebrate, we’re sharing ways to find ideas for your stories. If you are a short story writer and you’re looking for a quick fix, try one of these.

1.  Find Out What Lies Behind The Lyrics

Choose a date. What song was number one on that day? Do some research about the song. Who wrote it? Why did they write it? Who inspired it? Use what you find out as inspiration for your short story.

2.  Use A Writing Prompt

Sign up for a daily writing prompt. Follow people who share them on social media. ‘A prompt can be anything. A word, a line from a poem or a song, a name or even a picture. Anything that gets you writing. Find ones you enjoy.’ (via) Your daily prompt could inspire your short story.

3.  Rewrite A Fairy Tale

Take a fairy take and write it as a modern day story. Change the sexes of the main characters. Choose a random setting. If the tale is too long for a short story, write the beginning or ending as your short story.

4.  Rewrite A Myth

A myth is an ancient story involving supernatural beings, ancestors, or heroes. It is used to explain aspects of the natural world or to show the psychology, customs, or ideals of a society. Examples: The Myth of Creation, Arthur and Camelot, The Rain Queen. Write a myth using one of our 20 Myth Prompts as a short story.

5.  Obsess Over Details

Find one thing that interests you. Keep a file and save these items in it. It can be in a photograph or something you’ve heard. Research it and use it as inspiration for a story. Use this random first line generator to start your story.

6.  Hashtags On Instagram

Choose a topic that interests you. Visit Instagram and click on a hashtag related to the topic. Look at the posts and choose an image that inspires a story. Use this ‘What if?’ generator to enhance your scenario.

7.  Ask Your Followers

If you have a social media following, ask your fans what they want you to write about. Create a poll of some of the ideas you get and write about the one that gets the most votes. Use easypolls or pollcode or pollmaker. Use the embed code to share it on your blog or link it to your social media platform.

8.  Use A Holiday

Which public holiday is next on the calendar. Write a short story about someone who is planning for this holiday, or a story that centres around the holiday in some way.

9.  Write About The Day Your Parents Met

Rewrite the story of your parent’s first meeting. Write it from the perspective of a stranger watching them. Change names, swap the sexes of the characters, change locations. Go!

By Amanda Patterson
Source: writerswrite.co.za

Visit us at First Edition Design Publishing

Write Fictional Characters as Complex and Realistic as You Are—The MBTI for Writers Series

What’s the secret to writing fictional characters readers fall in love with? What makes us reread our favorite novels, revisiting the same characters through the years like old friends?

Some writers are naturals at it. Lifelong people watchers, they seem to “get” how other people work without trying. So of course their fictional characters are complex and realistic. Of course their characters leap off the page.

But not every writer is an expert in people.

That doesn’t mean your characters are doomed to be cardboard cutouts. There’s hope for the writers who have something to say but aren’t sure yet how to create characters realistic enough to say it.

If you struggle to create characters who are complex and distinct. If you find yourself scratching your head at every plot turn, unsure of what your character would say or do or think next—then you know the struggle.

You know what it’s like to want your character to become so real, she takes over the story—but every word you write just reminds you she’s still a stranger.

So how do you flesh out a character who falls flat? How do you fix cliched, unlikable characters? How do you define characters who are too predictable or distinguish the ones who act just like every other character in the story?

There’s a tool for that.

It’s called MBTI. And it’s your new secret weapon for creating fictional characters as complex and realistic as you are.

This is The MBTI for Writers series.

Fictional Characters Made Easy: What We Cover in MBTI for Writers

  • What exactly MBTI is (the quick and dirty version for writers)
  • A simple overview of the 16 MBTI personality types (i.e. what’s really going on inside the heads of each personality type)
  • Quick tips for getting into each type’s head so you can see the story through their eyes—even when the character is NOTHING LIKE YOU (Because what better way to know how they would act and respond to the plot than to see the world how they see it?)
  • How to use each of the 16 MBTI types as a character mold to build out an endless cast of truly unique, surprising, and ultra-realistic fictional characters your readers will love (and love to hate)
  • What so many people get wrong about MBTI and how writers can use it to their advantage
  • Ways to build out each personality type so each one is new and unique—no matter how many times you’ve reused the mold

Series Contents

Out Now:

Coming Up:

  • See Through Your Character’s Eyes: How to ‘Experience’ the 8 MBTI Functions Like Your Fictional Characters Do
  • How to Make Each Character Type Unique—Even If You’ve Used That Type Before
  • 11 Smart Reasons to Create Your Next Fictional Character Using MBTI
  • Do You Really Understand Your Character? Cheatsheets for Writing Each of the 16 MBTI Types
    • ENTJ Character Design Cheatsheet
    • INTJ Character Design Cheatsheet
    • ENTP Character Design Cheatsheet
    • INTP Character Design Cheatsheet
    • ENFJ Character Design Cheatsheet
    • INFJ Character Design Cheatsheet
    • ENFP Character Design Cheatsheet
    • INFP Character Design Cheatsheet
    • ESTJ Character Design Cheatsheet
    • ISTJ Character Design Cheatsheet
    • ESTP Character Design Cheatsheet
    • ISTP Character Design Cheatsheet
    • ESFJ Character Design Cheatsheet
    • ISFJ Character Design Cheatsheet
    • ESFP Character Design Cheatsheet
    • ISFP Character Design Cheatsheet
  • Common Arguments against MBTI (And Why They’re Dumb)

Source: mandywallace.com

Visit us at First Edition Design Publishing

How to Create Convincing Science Fiction Technology

Technology is a vital part of science fiction. Even if your story isn’t about a technological change, differences in technology will define the aesthetic of the setting and the possibilities available to the characters.

So how can you go about imagining convincing science fiction technology?

Why Convincing Technology Matters

Before delving too deeply into this, it’s worth considering why convincing technology matters. After all, other genres get away with making up whatever they like, as happens with fantasy and steampunk. Even some science fiction glosses over the details of technology, apparently treating it as unimportant.

One reason to pay attention to technology is your readers. While there are science fiction readers who don’t care about the details of the science, there are also many who do care. They’re passionate about understanding the underlying principles behind the way a future world works. They have a decent grasp on science and technology, which they will use to critique your work.

You can ignore these readers, but you do so at your peril. They often sit near the heart of fandom and can be among the most vocal advocates or critics of a book. Winning them over will provide you with a valuable support base, and if they don’t like your science then you’ll see it in your reviews,

There are other reasons too, beyond pleasing pedantic readers, reasons that will help you with your writing.

The first is that technology brings the world to life. Think about how much laptops, smartphones, and cars define our modern world. In the same way, the right technology can help to make your imaginary world feel real.

Developing a convincing system of technology can provide great inspiration for your storytelling. The way characters travel can inspire chase scenes. The way they communicate can inspire situations where they become cut off. The way they relate to their technology can shed light on how characters view the world and what inspires them.

Even if the outline of your story is already fully rounded, knowing how the technology works will make it easier for you to tell the story. If you know what makes a spaceship works then you’ll know how it could break down and how the crew might try to fix that. Knowing in advance means that you don’t have to stop the flow of writing to work it out.

How to Create Convincing Technology

The process of creating convincing technology starts with understanding modern technology and science, which means research.

Read up on the state of technology in the area you’re concerned with. What’s out there. How it works. How it’s used. Find out about what’s at the cutting edge, where experts in the field think this technology will go next. Look at how it got to this point, so that you can understand the way it develops over time.

When doing this, it’s important to look at the underlying principles. Adrian Tchaikovsky’s award-winning Children of Time is grounded in the fundamentals of evolution, not just the principle of information being passed on in the genes, but the way that this shapes changes over time. Though the evolution is exaggerated, the changes it creates in an insect population are convincing because they’re detailed and grounded in science. The result is an evolutionary pattern that is fascinatingly different from our world.

For most technology, you’ll need to consider design as well as science. A car’s design is about more than just the way an engine works and what makes an aerodynamic shape. It’s about how many passengers are included, where to seat the driver, where to place controls, how the vehicle provides feedback to the driver on what it’s doing, and a thousnad other factors. The same applies to any piece of technology, from a sword to a smartphone. So think about the design of the technology in your story. What aesthetics have shaped it? What issues of practical use? There are dozens of different ways the same tool could be designed, so look for one that says something about the society it’s used by.

While science fiction technology is mostly grounded in reality, it’s always going to depart from our world in some way – that’s what makes it science fiction rather than science fact. When deciding how to deviate from reality, it’s often good to work from the principle of the one big lie. This is one thing about the science of your setting that you’ve made up, like a form of psychic powers or faster than light travel. Readers will accept one or two big lies better than lots of little ones, as the one big lie and its consequences creat a coherent whole.

Work out the implications of your one big lie, including the different technologies that stem from it. Sell it well enough and your readers will believe.

Technology in Context

The way that technology is used is as important as the technology itself. Understanding how your technology fits into the world is vital to making it convincing.

New technology doesn’t start out as accessible to everyone. The Rocketpunk Manifesto blog has provided a simple, handy model for considering how it spreads and becomes more accessible.

First comes the experimental phase, in which the technology is unusual, unreliable, and only in the hands of a select few – think modern spaceflight. Then comes the government / megacorp stage, when the technology is mature and reliable enough to be replicated but costs so much that only huge organisations such as powerful nations can have it, as is currently the case for submarines. This is followed by a stage in which it’s accessible for commercial purposes and private ownership by the super rich, like owning an airliner. Finally the technology becomes available to private individuals, becoming ubiquitous, as smartphones have done in the past decade.

Understanding where on the spectrum your technology falls will help in understanding how it fits into the world you’ve created, how easy it is to access, and what challenges characters might face in getting hold of it. It’s also a useful way of setting limits on a technology, if making it ubiquitous would spoil your plot.

Once you’ve worked out the maturity level of the technology, think about who has it and why. What do they use it for? Why do they use this technology rather than something else?

Consider the consequences of the technology. For example, railways and the telegraph transformed western society. They made it possible for people, goods, and messages to travel at previously impossible speeds. The world became more connected, news travelled almost instantly, and the difference in power between nations with and without these technologies expanded hugely.

Technology can shape society in all kinds of ways. The need for precious metals for microelectronics has led to pollution and the mistreatment of miners in poor but resource rich countries. Those microelectronics have also allowed the internet, making most of human knowledge availalbe at the touch of a button. This has accelerated the pace of technological change, allowed dispersed social movements, fostered relationship between people on different continents…

You get the idea. The consequences of a technology can transform society on every level, and thinking that through makes your technology more real, as well as adding new story possibilties.

Case Study: Spaceships

Spaceship design, as discussed by Dr Nick Bradbeer in a presentation at Nine Worlds 2017, provides a great example of some of these principles.

Spaceships are currently at the experimental phase of maturity, though recent developments are nudging them into the national / megacorp zone. They’re very hard to make and get hold of, and they’re not entirely reliable.

The principles needed in designing a spaceship are similar to those in designing a ship. You have to take into account the ship’s role, its size, and its layout. The role will define what equipment is needed, such as weapons for a fighting ship or storage for a cargo ship. It will also tell you how many crew are needed. These parts together define its size, as there needs to be space both for specialist equipment and for crew facilities, incluing space for sleeping, eating, and recreation, as well as facilities to deal with waste, to create or make up for gravity, for people to do their jobs, etc. The layout is largely defined by finding the most efficient way to put these pieces together, inlcuding protecting people from the heat of engines and efficiently connecting different systems.

Design-wise, a spaceship can be pretty much any shape you want.  This creates freedom to make something that reflects the setting and culture you’re working with.

The big lie for spaceships is usually a faster-than-light drive. This is needed to connect together different places in an interstellar setting, and is such a common big lie that most readers will just accept it in some form.

So the research for spaceship design is a mixture of ship design and cutting edge space technology, combined with whatever design suits your vision.

Building Better Sci-fi Worlds

Whether you’re writing a vast space opera or a day-after-tomorrow dystopia, convincing technology makes for convincing science fiction. And along the way, it can provide you with the inspiration to make deeper, more interesting stories that engage your audience.

By Andrew Knighton
Source: refiction.com

Visit us at First Edition Design Publishing

How to Increase Your Income as a Fiction Writer in 2018

Today’s guest post is by Dave Chesson of Kindlepreneur.

2017 was a wild year for authors.

We saw the rise of Amazon’s book advertising system, AMS, and the fall of most authors’ favorite publishing tool, Pronoun. We’ve seen more competition in Amazon, and even saw Amazon change some of the ways they do things, like the introduction of KDP print.

If Amazon wasn’t enough, Apple has promised to invest more in the book industry and Kobo has partnered up with Walmart, all in an attempt to take on Amazon, the current undesputed book sales champion of the world.

Plain and simple, the landscape is always changing.

That’s why it’s important for us authors to not only look to the future so as to improve our craft but also look at trends and ways in which we can earn more and thus gain a competitive edge in the new age.

More importantly, with the cost of successfully publishing and marketing our books rising, it’s becoming evident that we need to step back, look at our process, and see if there are ways we can get even more out of what we’ve already gotten.

It’s about increasing our writing revenue.

Luckily, there’s new information that can help us to not only market better but also gain more income in ways we may not have thought possible.

Here are three ways you can increase your fiction-writer income in 2018 so as to stay ahead of the pack and gain a new competitive edge.

1. Offer More Formats of Your Book

It’s amazing how many writers leave good money on the table by only offering their work in only one or two versions. With formatting programs like Jutoh, Scrivener, and Vellum, creating ebooks for all markets, and even print books, has never been easier.

But also, thanks to ACX, creating audiobooks is easy too. Audiobooks have become a major source of income for authors, and most analysts project this to only increase over the years.

But offering different formats has another big benefit other than direct sales—it pleases Amazon and the other book markets. One of the major factors as to why one book shows up over the other is conversion rate. Let me explain:

When someone does a search on Amazon, Amazon looks to see which book they ended up buying. If more people choose one book over another, Amazon’s search algorithm will make sure that that higher converting book will show up more—it seems to be the more profitable.

So, having all the different formats will give you a higher conversion rate and thus make Amazon show your book more often and in better rankings.

So, take a look at your titles and start offering your book in more markets and different forms. The future looks bright for authors who do so.

2. Monetize Your Email List Better With These

Many fiction authors have an email list, and if you don’t, you should definitely set one up as soon as possible.

However, most authors only use it to push their books, or network with other authors and email list share. Both of which are great uses. But there are more ways to earn a continuous stream of income and still provide for your readers—affiliate links to useful things.

There really are some useful ways to not only make an affiliate commission in your autoresponder series but also provide value. Below are a couple of the valuable offers any fiction author can offer to readers:

Audible Free Trial Offer: Through Amazon Associate, you can sign up to be an affiliate of Audible.  With that link, if anyone clicks it and signs up for a free trial, they get two free audiobooks, and you get $5. Basically, you can gift two free audiobooks and still make money. If they use their gift to purchase your audiobook, you get even more.

One important fact, though, is that with Amazon Associate, you can’t send the link via email (it’s prohibited). So, in this case, I write a blog post about it, and list my favorite audiobooks, and send an email directing my readers to that post.

Kobo Offer: Unlike Audible, you can email this link directly to your readers. If they click your Kobo affiliate link and sign up for a buyers’ account, they get $5 credit toward a book, and you get $10 credit. It’s not money, but what great writer doesn’t read a lot of books? This will help cut those costs big-time.

Scrivener Affiliate: You may be surprised that promoting a book-writing software like this helps. But in your fiction email list there are a lot of readers that truly want to one day write their book, if they haven’t already. So, getting a peek behind the scences on how you construct your book will be a great opportunity to not only connect with your readers but also make some affiliate sales as well.

If you haven’t tried Scrivener, be sure to check it out and sign up to be an affiliate. Also, you can offer your readers a 20% discount. Just go to a Scrivener discount website and find one, test it, and then send it out in your email. That will help get people over the fence on it.

As you can see, there are a lot of great ways to provide great value to your email readers and make some extra cash as well.

#3: Offer Side Services

Another way authors have been able to increase their revenue while still sharpening their skills is to offer writing or other author services like editing.

Many authors become editors in their genre not just for the money but also for the ability to keep up-to-date, improve their skills, and have an opporunity to network with other authors in their genre.

Also, if you decide to become an editor for a genre, and you have a website, contact us at Kindlepreneur.com and we’ll make sure to add you to our list of book editors. It shows up #1 in Google for the search “book editors,” so that should help you get some opportunities.

But editing isn’t all. Here are some ideas of side author services you could offer:

  • Book cover design
  • Ghostwriting
  • Proofreading
  • Coaching
  • Formatting
  • Book marketing services
  • Consulting for book launches

And more.

A new 2018 for Fiction Authors

As you can see, the world of book marketing and publishing is changing. But we don’t have to radically change in order to keep up. Just a couple things can help you not only stay ahead of the game but also increase your income as well.

Whether you add your book to more formats and markets, add affiliate links to your autoresponder email series, or take on a side author service, there are ways you can earn more, and keep ahead.

Which one will you put into use for 2018? Let me know in the comments.

Source: livewritethrive.com

Visit us at First Edition Design Publishing