Finding Time to Write Part II

Photo by Rick Bowden

I was skimming through Marc Shapiro's J. K. Rowling: The Wizard Behind Harry Potter when something caught my eye. Despite the pressure of being a single mother, working to stay alive, and all that "rubbish", she manage to find the time to write and completed The Sorcerer's Stone in one year. It's not as if she had unlimited time on her hands. But she prioritized her writing.

She wrote during train rides, at cafes, on scraps of papers. She rushed to finish her secretarial work so that she could use the corporate computer to write. She prayed constantly that no one would have a birthday or a meeting that she'd be obliged to attend.

Every spare moment she had, she wrote.

I know we have busy lives. I know that we rush to take care of families, work, and the occasional curve balls life throws at us. I know that writing can seem like just another thing on an already full plate.

But maybe we're just forgetting why we write. We write because we want to. No one's forcing you to do anything. So just remember your first writing sessions when writing was pulling characters from thin air and watching them walk around the page.

We need to stop dreading the blank page. If you've lost the love of writing, try free-writing every day before you write your novel. It gets your creative juices flowing before you have to tackle the novel.

In all honesty, this post title is a lie. We don't Find time to write; we Make time.

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Omitting Needless Words

Photo taken by Ville Miettinen

Most of us want to write a novel. Some us may write fro kids while others target young adults. There's a big difference between an easy reader and a YA Fantasy; for one thing; size.
For the most part, we want to end up with a book that's around 250 pages. Which is why its disappointing when the rough draft comes out to be...40 pages, like my first rough draft (In size 12, Times New Roman).
For some, its only too easy to write Above and Beyond the Call of Duty and end up with rough drafts 700 pages in length. (Stephanie Meyer *cough*)
Others have a hard time thinking up enough events. And that's where the trouble begins.
The slower writers feel obliged to add any random scene and long-winded paragraphs, just so they can meet to word count goal. I'll admit, I've done this. But then I stumbled onto the best bit of writing advice I'd ever received:

Cut unnecessary parts...you'll never run out of ideas, so don't be afraid to let go of things.
-Todd Mitchell

And he's perfectly right.
Revision is mostly about hacking your novel to pieces and sewing it back together. Anything that doesn't belong needs to go.
If only it was that simple.
But, like most writers, we get attached. We fall in love with plot, with clever little aphorisms, with characters, with conflicts. And it hurts to let them go.
But let go we must.

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Creating Characters: Motive

Every character, minor or major, needs a motive. It’s the driving force behind everything they do.
In other words, their reasons. That’s all good and fine, but what it really boils down to is that there are consequences to their actions.
I cannot stress how important motive is. If there’s no reason your character should be doing something, then why are they doing it? Unless there’s a motive, your book will end up as pointless as a kid’s menu maze.

Courtesy of Applebee's

Self Interest
Face it. The human race can be selfish. But there’s a fine line between selfish and smart.
One of the most overpowering motives for a character is death. Most characters desperately don’t want to die. Death is the reason they do things they know are wrong, because self-preservation kicks in.
It doesn't have to be that extreme. Lying and cheating are things we do because we're afraid of the consequences.
This includes personal goals.
Other People
If humans were entirely logical we’d never risk our lives for someone we love, get angry, or set off on quests with only faith to guide us. If Spock needed to find the Holy Grail, he’d make sure of its location and existence before he went after it.
For the sake of a good story, humans don’t think in pure logic. We think about others. We do so many crazy things, good and bad, because of other people.
Your main character might risk his life for the woman he loves. That’s good.
He might get angry at a minor bad guy and accidentally spill the beans. That’s bad.
But either way, his actions are affected by other characters. The reason he acts is because of someone else.
Even the villain can be affected by others. Take Voldemort. He is so intent on killing Harry Potter himse that he spends far too much energy preparing a secluded trap for Harry and not enough time protecting all his lovely horcruxes.

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Elements of Fiction: Tone

Photo by Nicolas Marino

Tone is the overall mood of your story. Moods can change from scene to scene, but the tone lasts through the whole book.
Take, for example, the insanely popular book Twilight. Even though there’s a spattering of action-packed scenes, the majority are romance. The tone is romantic rather than supernatural.

Picture yourself holding the published, hardbound copy of your book, with your name across the bottom.
What is the overall tone? If a prospective reader glanced at it, what would they assume?

Now flip the book over.
What do the critics say about it? Do they proclaim it as an insightful classic or a heart-pounding action ride?

Open up your book. Go to the appendix where there’s an interview with the author (you!). One of the questions you were asked was, “Why did you write this book?”
How did you respond?

Step 1: Tone
Decide what you want the tone of your story to be. It is going to be light-hearted, thought-provoking, dark, or romantic?
This will provide the basis for everything you right. If you’re attempting to write a light-hearted picture book, it most likely will not include the death of a friend.
Everything you write will orbit around this theme. Do not be afraid to change it if you need to. Nothing is set in stone.

Step 2: Direction
Make up critic reviews for your published book. They must be good. You are, after all, writing the ideal reviews of your perfected final draft.
This exercise let’s you know what you want your book to end up like. It’s easier to get somewhere if you know where you’re going.

Step 3: Purpose
Why did you write your book?
Think carefully on this one.
Did you write it to entertain? Inform? Warn?
While it’s good know where you’re going, it’s just as necessary to know the reason behind the journey.

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Showing not Telling: Infodumps

At one point or another, you have to explain some aspects of your book. Even if the character knows exactly what’s going on, the reader might not. Put simply, an infodump is a large chunk of necessary information that bores the reader to death. I don’t know about you, but when I come across blocky paragraphs describing the scenery, my eyes tend to skim.
So how do we present crucial information by showing instead of telling?

Dialogue
One of the best ways to present facts is through characters talking to each other. But even this can be botched if the dialogue if nothing more than an infodump with quotations. Let’s compare;

Infodump
The alchemist selected a jar, filled to the brim with mercury. Mercury is a silver metal with a high density. It’s a liquid at room temperature, but exists in the solid cinnabar. Cinnabar is a powdery, red mineral that’s extremely poisonous when inhaled. Mercury was once thought to cause longevity. It is toxic and has been known to cause insanity. It was this material that the alchemist chose to work with.

Infodump with Quotations
The alchemist selected a jar, filled to the brim with mercury. He turned to his apprentice and explained, “This is mercury. Mercury is a silver metal with a high density. It’s a liquid at room temperature, but exists in the solid cinnabar. Cinnabar is a powdery, red mineral that’s extremely poisonous when inhaled. It is toxic and has been known to cause insanity.”

Face it; the second’s not much better. If you choose to do dialogue, make it a conversation;

Conversation
The alchemist selected a jar, filled to the brim with a silvery liquid. The apprentice craned his neck to see. “What’s that?”
The alchemist grunted and held the jar out for the apprentice’s inspection. “This, boy, is mercury.”
“And, uh, what exactly is it for?”
“Some believe it has the power to make you immortal.”
The apprentice’s eyes widened.
“Of course,” snapped the alchemist. “That’s utter rubbish. Far too many emperors have died because of that supposition. Everlasting life indeed. Mercury will kill you, boy. If it doesn’t drive you insane first.”
The apprentice looked warily as the sloshing metal. “Right. Well then, is there anything else we can use for the recipe…a substitute maybe?”
The alchemist laughed. “Closest thing you’ll get is cinnabar. But that’s got mercury in it anyway. Highly toxic. Take a whiff of that stuff and you’re a goner."

Thoughts
This only works if you’re using first person or third person omniscience POV. A character’s thoughts can be a powerful tool.

Before:
The day was bitterly cold. A crisp wind blew garbage across the street. Everyone was inside, enjoying the warmth of a fire. The entire sky was coated in white snow-clouds and it was only a matter of time before a blizzard hit. Even the queen’s palace was suffering from the icy weather, with servants scraping away at the frost-coated windows so the queen could enjoy looking outside.

After:
I marched down the slushy street, my woolen cloak wrapped tightly against the crisp winter wind. I was the only one outside. Every other sane person was indoors, tucked in a quilt by a blazing fire. But not me, I had a job to do. I groaned inwardly and kicked at a pile of frozen garbage. Blast this weather. I glanced up at the leaden sky blanketed with snow clouds. We’d have a blizzard before the month was out, for sure.
Another gust of wind sent me hurrying down the road again. I passed the queen’s palace and snickered at the poor, frozen guard on duty. The Queen didn’t much care about other people’s discomfort, evident by the army of servants scraping frost off the palace’s two-hundred-and-ten windows. Poor suckers. What was even the point of it? So that the queen could look outside and see the empty street?

Actions
The way characters behave can strengthen both Dialogue and Thoughts, and make a strong support on its own.

The alchemist selected a jar, filled to the brim with a silvery liquid. The apprentice craned his neck to see. [This reveals that the apprentice is curious and new to the alchemy experience] “What’s that?”
The alchemist grunted [Not the friendliest guy] and held the jar out for the apprentice’s inspection. “This, boy, is mercury.”
“And, uh, what exactly is it for?”
“Some believe it has the power to make you immortal.”
The apprentice’s eyes widened. [He’s naïve to believe such a myth]
“Of course,” snapped the alchemist. “That’s utter rubbish. Far too many emperors have died because of that supposition. Everlasting life indeed. Mercury will kill you, boy. If it doesn’t drive you insane first.”
The apprentice looked warily as the sloshing metal. [Now he’s nervous] “Right. Well then, is there anything else we can use for the recipe…a substitute maybe?”
The alchemist laughed. [He’s got a strange sense of humor] “Closest thing you’ll get is cinnabar. But that’s got mercury in it anyway. Highly toxic. Take a whiff of that stuff and you’re a goner.”

The apprentice’s reactions give us a clear definition of who he is without having to say, “The new apprentice didn’t know anything about alchemy and was incredibly gullible.”

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Guest Post: Janice Hardy on "Trail Blazing"

We’ve all read stories where clues were so seamlessly dropped in along the way that until the big secret was revealed, we never even realized they were there. But when we finally did, all the pieces of the story fell into place and we were awed by the skill in which that bread trail had been left. Those writers made it look easy, as if they knew from page one what clue went where and how it would all come together in the end.
I’m sure there are bound to be a few writers out that who really can write that way, but for most of us, those clues are either planned ahead of time, inserted after the fact, or happy accidents. Sometimes, (heck, probably most times) a combination of all three.

Planning the Trail
Some clues we know about in the planning stage of the novel. Those details that came to us as we were brainstorming and writing our outlines or making our notes. Important clues we work hard to build a scene around. Often these are the things our protag’s will discover down the line in some fashion and a critical plot twist may even hinge on them. They’re important, which is why we know about them from the start.

Stumbling Upon the Trail
Then there are those details that just kinda happen, and it isn’t until after that we realize that throwaway detail could be so much more. A bit of backstory or internalization that suddenly has greater meaning, an off-hand setting element that becomes the perfect hiding place for a long lost secret. The types of details that lurk in our brains and leak onto the page, and somehow, always seems to be better than the stuff we actively think up.

Marking the Trail
Last, there are those details that we go back and add in once we’ve figure out how the story unfolds. The purposeful red herrings, the hidden clues, the telling off-hand remark. Each detail is inserted at just the right spot so the reader can follow that trail, even if they don’t realize they’re following it.

Keeping the Trail Clean
No matter what type of writer you are (outliner or pantser), odds are you’re going to go back at some point and edit. Doing an edit pass for clues, hints, and foreshadowing isn’t a bad idea, especially if you’re not one of those mystery writers who think of these things naturally. (I think mystery writers are born with this skill) If you’re not sure where to leave those bread crumbs, try asking…

When do I want the reader to start suspecting things?
Sometimes you’ll want a surprise, other times you’ll want the tension of trying to figure it out to help pull your story along.

When does my protagonist start to figure it out?
Readers often spot things long before characters, but if it’s too obvious, then your character might look dumb if they haven’t figured it out yet. Make sure you have a good balance between reader hints and character hints. If your protag needs to know something by page 45, leave enough clues before then so the realization feels plausible.

Are there any slow/weak spots that could use some freshening up?
Weak spots in need of help could be opportunities to create a scene that links back or foreshadows another. Would adding in a layer of mystery help?

Do the characters encounter anything thematically or metaphorically linked to the thing?
You know how someone can say something and make you think of something different? Your brain picks up on it because there’s some link between the two things. You can do the same thing with your characters. Something they’ve heard or experienced might be the perfect trigger for a memory or realization in a later scene. Or, you can go back and add something that can make this happen.

Trails are made by folks wandering back and forth over them, so it makes sense that a good plot trail might take looking at from both ends of your novel. Knowing where a plot or subplot ends up makes it a lot easier to figure out where it starts. The more you wander that trail, the more you learn about it and the more you can share with those starting down it for the first time.


About Blue Fire

Part fugitive, part hero, fifteen-year-old Nya is barely staying ahead of the Duke of Baseer’s trackers. Wanted for a crime she didn’t mean to commit, she risks capture to protect every Taker she can find, determined to prevent the Duke from using them in his fiendish experiments. But resolve isn’t enough to protect any of them, and Nya soon realizes that the only way to keep them all out of the Duke’s clutches is to flee Geveg. Unfortunately, the Duke’s best tracker has other ideas.
Nya finds herself trapped in the last place she ever wanted to be, forced to trust the last people she ever thought she could. More is at stake than just the people of Geveg, and the closer she gets to uncovering the Duke’s plan, the more she discovers how critical she is to his victory. To save Geveg, she just might have to save Baseer—if she doesn’t destroy it first.

Buy it here.

About Janice Hardy
A long-time fantasy reader, Janice Hardy always wondered about the darker side of healing. For her fantasy trilogy THE HEALING WARS, she tapped into her own dark side to create a world where healing was dangerous, and those with the best intentions often made the worst choices.
Her books include THE SHIFTER, and BLUE FIRE from Balzer+Bray/Harper Collins. She lives in Georgia with her husband, three cats and one very nervous freshwater eel.

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The One Rule to Writing

"There are three rules for writing a novel. Unfortunately, no one knows what they are."

~W. Somerset Maugham

By now, we’ve probably heard plenty of writing rules. Show don’t tell, start with action, the main character must develop, pace yourself, ect.

And then, of course, there’s everyone’s personal rules. According to George Orwell, the six rules are
1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print,
2. Never use a long word where a short one will do,
3. If it is possible to cut a word out, always cut it out,
4. Never use the passive where you can use the active,
5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent,
6. Break any of these rules sooner than saying anything outright barbarous.

Or maybe you’ll prefer John Rechy’s three rules; Show don’t tell, write about what you know, and always have a sympathetic character for the reader to relate to.

If that’s not enough, there’s always Elmore Leonard’s ten rules, Kurt Vonnegut’s ten, Norman Holland’s three, or Steven Goldsberry’s one hundred and one.

I believe that there’s only one rule: Write.

Sure, learn the craft of writing. Study what makes a reader tick and publishers squeal with joy. By all means, follow writing blogs, google images of random people who resemble your characters, and make playlists for your story. But nothing will ever replace the movement of pen on paper. Less talk, more action.

Now, I know this sounds obvious, but a lot of writers (like me) catch ourselves spending more time worrying that we’re not writing instead of actually doing it.

If your butt isn’t in the chair, you will not write a word.

So, Step 1, pull out a notebook and a pencil. Sit down. Comfortable? Good, because you’re not allowed leave. Chain your ankle to the desk if you have to.
Now….write.

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How to Create a Traitor

Traitor : A person who betrays another, a cause, or any trust. (Webster’s College Dictionary)

Betrayals are one of the most delightful plot twists. Not only does the traitor plunge everything into chaos, but can emotionally scar trusts and friendships.

True or False
The author knows thing that characters don’t. Is the traitor truly betraying their own side, or are they leading the enemy into a trap?

True Traitor
A cut-and-dry case; a traitor offers something of value to the enemy for selfish reasons.

False Traitor
Here’s where things get tricky. The “traitor” has not truly defected, but is trying to trick the enemy.
Back in 480 BC, the Persians attacked Greece. The Greeks had about 200 ships while the Persians had 700. A Greek general named Themistocles knew that unless they created a concentrated attack, the Persians would wipe them out. So he sent a trusted servant to the Persians. The servant played the role of a traitor, and he told the Persians that the Greeks were in disorder. He claimed that if the Persians attacked the Greek’s beachside camp by morning, they could take the Greeks by surprise. The Persians rushed to do battle and were ambushed by waiting Greeks.


The Offering
What is the traitor giving the enemy?
Knowledge is the first thing that comes to mind. The traitor often carries secrets to the enemy, such as locations or weaknesses. Let’s take World War II. Traitors provided information such as the whereabouts of Jews, the construction of new war technology, or the names of underground leaders.
Traitors can also provide prisoners. Oftentimes a traitor arranges to lead those who trust him into a trap. Then the enemy can swoop down and pick up his prisoners.


Motive
A character always has to have a reason for their actions. What motivates someone to commit treason?
Greed-They are basically bribed by the enemy. They are promised wealth or a high position of power. Sometimes they are threatened with death, or the deaths of those they love, so they concede.
Victory-They want to be on the winning side.
Revenge- They have a personal vendetta. In exchange for their betrayal, they ask for permission to kill so-and-so, to have what’s-his-face’s property, or to enslave that-one-guy.


Effects
Information given to the enemy can mean death for numerous people.
The traitor’s personal life is marred. Relationships are broken, their family can be torn apart, and most of the times the traitor is stabbed in the back by those he helped.
People who trusted the traitor can become bitter and angry. Some develop grudges while others only become deeply wounded and fall into depression. Those led into traps may find it hard to trust anyone ever again.

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Boring Book Syndrome: Tough Love

This post is an expansion of tuesday's Tough Love section.

This seems to be a major issue for people; what to do when you love part of your story but hate the rest. 

One of my earliest stories suffered from this love/hate controversy. I loved the world I created and spent hours working out its mechanics. The events played out like actual history, and the villain was one of the most chilling antagonists I’d ever created.

One problem though; I absolutely hated the main character. The solution seemed simple. If you don’t like your main character, change him.
He went from slave, to thief, to soldier, to mythical creature. He became a She and flip-flopped back into a He. I hated every single one.
I figured I’d change it from character-driven to event-driven. But I couldn’t find the proper opening. All the doors that led into my richly imagined world seemed like they could only be opened through a character.
I gave up. I sadly stuck all related writings and drawings in the back of my file cabinet and forgot them for years.
A few months ago I stumbled across my old rough draft. I noticed that one character appeared in almost every scene and lit up the otherwise bland novel; the antagonist.
That couldn’t be right. The antagonist couldn’t be the main character!
But I noticed something. The antagonist had goals, the antagonist had enemies. True, he wasn’t a very nice main character, but he fit the description. The key to the story was right under my very nose.


So what do you do when you struggle to write something you love?

Step 1: Identify what you hate.
What’s holding you back? Is it your setting, your characters, your idea, or your writing technique?

Step 2: Change what you hate.

Setting: is there a way to write the same story somewhere else? Does it have to be a magical world? If it’s set in your basic medieval forest, is it possible to tell your story in a lush ancient jungle or vice-versa. Don’t let setting get in the way. The place you feel the most enthusiasm for is where you should be.

Characters: What character do you hate? Can you erase him? Can you change him? If it’s the main character, can you write the story without him? Can you put someone you love in his place?

Idea: Why do you hate it? Is it because it’s unoriginal and based off a movie you love? Don’t worry about being original. Half my books start out sounding exactly like the movie/book that inspired them. With each new draft you veer away from that plotline until someday it’s entirely yours.

Writing Technique: Don’t worry about what your rough draft sounds like. Every rough draft sucks. However, if you’re so frustrated with the way it sounds that you can’t go on, try experimenting with the style. Should it be more serious? More whimsical? Should you change the point of view? Let’s say you’re writing a horror story. You’ll probably not want to sound like Junie B. Jones or Spock. It’d be hard to raise suspense through the perspective of a kindergartener or an alien who can’t feel fear.

Step 3: Replace
If Step 2 doesn’t work out for you, try replacing what you hate with what you love. Go through your draft and pinpoint things that you felt excited to write. Give the things you love center stage.

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Boring Book Syndrome

Most of us (if not all) have had a rough draft that petered out and died. This is a separate form of writer's block. This is the Boring Book Syndrome. Symptoms include:

We've gotten bored with it,
We can't figure out what happens next, or
We're so in love with the idea and character that we refuse to let it go.

Bored
The idea may be interesting enough but even those can fall flat. If the writer isn't passionate about the idea, the book will come to a standstill.
Bestselling books don't always sound the greatest (Twilight: Girl falls in love with vampire. Harry Potter: Boy goes to wizard school.) And ideas that sound cool may never make a good book. (Black Powder: Boy goes back in time to stop the invention of gunpowder so his friend won't die. Have you ever heard of it? Probably not.)
The point is,if you as the writer aren't totally into your story, maybe it's not the one you should be writing (yet). Don't trash the idea completely; set it off to the side until you're ready to give it another shot.

What Next?
Don't freak out if you don't know for sure what happens next. Write whatever you're struggling with on a post-it-note and slap on your bedroom door. Then don't worry about it; you're subconscious will take care of the problem and one day the answer will come to you.
And if that doesn't work, rewind your plot back to the last point you felt the most energy. Un-write whatever comes after that.

Tough Love
Sometimes you love the characters and world you've created so much that you don't want to give up. But you can't go any farther and your plot is lacking the finer points of credibility.
Write it anyway. Fix it as you go along; revise. Some people say 'don't write it if it isn't a spectacular idea.' That really depends on the writer. Some of us are character-driven. Some of us live for plot. Don't dump it just because it isn't perfect. Rough drafts are never perfect.
If there's any reason for a story to be loved, that's a good enough reason.

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Made to Stick for Writers: Concrete

When I was first learning French, I would pore over my notes, struggling to hit it home that “chien” meant “dog” and “pomme” meant “apple.” But it never seemed to stick. It was hard to see one word as a literal translation of another.
Then one day my teacher shows up lugging a bag of pretend food. She held up the plastic apple and declared “pomme.”
Everything clicked. “Pomme” was the firm fruit whose taste, texture, and smell were familiar to me. She gave me something visual. She gave me a concrete definition.

That’s what a concrete story does; it latches onto the reader’s memories and triggers the five senses. The reader feels like they’re watching alongside the characters.

Studies of the human memory show that we’re better at remembering concrete nouns versus abstract ones. It’s easier to remember something you can visualize (grapefruit, train) rather than something abstract (equality, hope).

Writers constantly present the abstracted form of the noun “Pain”. To say “he cried in pain” is not enough. Don’t tell me that he’s in pain, show me.
Lois Lowry provides an excellent example in her book The Giver as she describes a broken leg;

Then, the first wave of pain. He gasped. It was as if a hatchet lay lodged in his leg, slicing through each nerve with a hot blade. In his agony he perceived the word “fire” and felt flames licking at the torn bone and flesh. He tried to move, and could not…

The description uses several concrete nouns; “hatchet”, “hot blade”, “fire”, “torn bone and flesh”. The agony feels almost real, as if we too are experiencing it.

To make your story concrete, use concrete details. Through the five senses, describe what is happening to your character. What do they see, smell, hear, taste, and feel?
Don’t tell me the house was old. Show me the bald patches of roof tile, the door with a zigzag crack running down the middle, the sooty window panes broken into jagged teeth, the stench of mildew, the creak of an old shutter in the wind, the splintered wood, the dusty air you choke down every time you breathe.

Put the reader in the story.

Intro
Part 1: Simple
Part 2: Unexpected
Part 3: Concrete (You are here)
Part 4: Credible
Part 5: Emotional
Part 6: Story
Part 7: Epilogue

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Writing a Rough Draft: The Easy Way

When I start writing a novel, I get a picture in my head of the hefty two-hundred page book it will become. So I'm disappointed when the rough draft ends up around twenty pages. I add scenes just to lengthen it and bog it down with unnecessary sentences.

Well, I think I've got the solution.

Write your rough draft as if you're writing a short story.
I recently wrote a short story and it ended up about the same length as most of my rough drafts. Sure, the pacing is a little fast, but the point is, a short story gets to the point and doesn't have uncertain pauses. If I wanted, I could easily make it longer.

I don't know if you've ever read The Arabian Nights. While the stories could certainly be expounded, they are told in concise language;

"The grand vizier conducted Scheherazade to the palace and left her alone with Sultan, who bade her raise her veil and was amazed at her beauty."

This single sentence could be lengthened into several paragraphs;

"Scheherazade didn't speak; merely followed the grand vizier submissively. He glanced at her sideways. She didn't look like the rest. She wasn't sobbing uncontrollably, didn't claws at his robes and beg him for release. She had a thoughtful step and, while her hands trembled slightly, she did not seem afraid. The vizier shook his head. She was either incredibly brave or incredibly dim-witted."

See? Already a whole paragraph and we haven't even finished coloring in the sentence. We could tell how the vizier bowed once and scuttled out. We could add dialogue. We could write in the sharp intake of breath as Scheherazade raises her veil.

So, if you're having trouble fleshing out a story, write it so that you're telling instead of showing.
Write it as a short story.

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Why People Are Bullied

I was recently asked to write a post about the reasons a character would be bullied.
Why are people bullied?

In grade school, I was teased, jabbed at, and generally unliked. Why? Frankly, I think I deserved it. I was a stuck-up little snitch, teacher's pet. I thought I was smarter. (Give me a break, I was in fourth grade.)
I become quite good at comebacks and snide comments. I was both the bullied and the bully. Needless to say, those were lonely years.

So, speaking from experience, bullies will find any excuse to tease. And sometimes we give them that excuse.

The Bully
It is said that people bully from low self-esteem. Yes, that can be true. But for people who have a specific target it's either because they hate that person for some reason (i.e. target's father fired bully's father) or the target gets is amusing to tease.
Occasionally though, bullies think it's cool. Everyone else is picking on a certain kid so they do it to be with the crowd.

The Bullied
Here's a little gem of wisdom for those being teased; if you make a big deal out of it, they will too.
Sometimes, people are picked on because they're obnoxious, stuck-up (like I was), or they're simply easy prey. If a person slouches as they walk down hallways, doesn't speak, avoids people, and thinks ill of themselves, that's just begging for trouble. You might as well paint a hang a sign on your back saying, "Tease Me!"
Have you ever wondered why the popular are popular? It's not because they have designer clothes and the perfect hair, though people would like to believe that. It's because they have an air of confidence that draws people to them like a magnet. Confidence is the most attractive trait.
So it stands to reason that if you have a bullied character, they will lack confidence.

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Elements of Fiction: Foreshadowing Part 2

We've discussed what foreshadowing is and its most common form.
So how do we create foreshadowing?

Dialogue
What people say can hint at future events. For example in The Most Dangerous Game by Richard Connell;

"...Great sport, hunting.”
“The best sport in the world,” agreed Rainsford.
“For the hunter,” amended Whitney. “Not for the jaguar.”
“Don’t talk rot, Whitney,” said Rainsford. “...Who cares how a jaguar feels?”
“Perhaps the jaguar does,” observed Whitney.
“Bah! They’ve no understanding.”
“Even so, I rather think they understand one thing—fear. The fear of pain and the fear of death.”
“Nonsense,” laughed Rainsford. “...The world is made up of two classes—the hunters and the huntees. Luckily, you and I are the hunters."

This conversation rings with meaning when Rainsford later becomes the "hunted".

Events
The things that happen in the beginning can carry symbolism of what is to come.
From Michele Torrey's Voyage of Ice;

“A baby bird...”
Dexter peered into the tree overhead. “Must’ve fallen from its nest. C’mon, Nick, put it down. It’ll make a fine meal for something...”
“But we can’t let it die.”
“All things die, Nick.”
“I can feed it milk. And a worm, maybe..."
The hatchling was warm in my hands, and all the way back I whispered to it while Dexter rowed the boat and rolled his eyes.
...For two days I kept the bird alive, but it finally died as Dexter said it would. I held the cold, stiff body, thinking maybe it wasn’t really dead yet, but Dexter snatched it from me and buried it in a hole in the yard.
“It’s over,” he said, dry-eyed and looking disgusted.
I bawled my eyes out. Couldn’t help it. I visited the little grave for weeks, until it was overgrown and I could no longer see where it used to be.

Later in book, Nick shows the same compassion for life when he, and others, are stranded.

Narration
A simple sentence can allude to what's going to happen. Tucked neatly in a story could be,

"That was the last time Marcus ever saw her..." (This is a direct telling that something happens that prevents Marcus and the girl from ever seeing one another.)

"His words were kind enough, but his voice was cold. I was suddenly afraid..." (The narrator is always right, and holds great sway on the reader's opinions.)

"But it was too late anyway. No one could survive six months in Antarctica... (Whenever someone says something is impossible in a story, we usually assume it isn't. Because that's what writing a story is about; doing the impossible through a story.)

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Elements of Fiction: Foreshadowing Part 1

Foreshadowing: Giving hints to help the reader predict future events.
Okay, so why would we want readers to predict something? Aren't we supposed to surprise them? Yes and No.

Surprise is good. It can jolt the reader and intrigue them.
But sometimes, foreshadowing is far more intriguing. Let's look at the most basic form of foreshadowing; a prophecy.

Let's say that in the prologue an oracle declares that in ten years a young boy will find a long-lost sword. After the sword is used to kill his mother, he will use the sword to defeat a dark sorcerer in the mountains.

Now, why would a reader want to even read the story? They basically know the plot, right? Sure, but they are missing information and they know it.
How does the boy find the sword? How is the sword used to kill his mother? Does that mean he kills her? Why? How does he even get involved in the defeat of a dark sorcerer? How does he use the sword to accomplish that? Who is the dark Sorcerer and why should he defeat him?

I'm not saying this is an award-winning plot. But foreshadowing can generate interest and discussion. The reader will want to read, just to find out the answers to their questions.

When writing foreshadowing, think about "What do I want my audience to ask?"

This question should especially be used at the beginning of a story. You want generate enough questions that it draws the reader in from sheer curiosity. However, be careful not to overload. There is a fine line between curiosity and frustration.

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Breaking Writing Rules

I've come across several writing blogs that challenge writers to "break all the rules about writing that you can. It's the only way to be original. Rules are confining. Ignore them all."

Now pay attention, because this is important; you shouldn't write a story with the sole purpose of breaking as many "rules" as you can.
It won't make you stunningly original or creative. It will probably just make your book suck.

Granted, there are some rules that won't work for everyone. Novelists are told that the main character should grow and develop by the end of their book. For short story writers, this rule is usually unnecessary for such a short time span.

Rules are really just guidelines or suggestions; a roadmap to give you hints about where the heck you're going.

The most successful books follow the "rule" to have a beginning, a middle, and an end. Breaking that rule will, more likely than not, result in a mess of a plot.

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Creating Post-War Scenes: Part 2

Families
The obvious consequence of war; loss of life.
Even after a war, the ache of the dead is still there. Brothers and sons become soldiers, civilians are killed, and families are split in the general confusion of bombings, refugee camps, or by hostile governments.

Destruction
War is messy. Entire cities can be destroyed in the process of warfare. Records, art, and homes are deliberately damaged. During World War II, London was bombed, and some of France's great architecture and art demolished.

Soldiers
Soldiers can return home haunted and bitter.
After the Vietnam War, many veterans sought psychological help, but most were refused since citizens at that time were against war and hated the returning soldiers.

Agriculture
Without the soldiers in the workforce, that's that much less people farming and preparing food (This one really only applies back to when most everyone was a farmer.) Starvation and famine can follow long wars, what with half the population growing crops for the same amount of people.
During the American Revolution, hungry armies would often raid civilian homes for food and not bother paying for it.

Fashion
This one's not a very common effect of war, but I thought it somewhat interesting.
During World War I, women were asked to stop buying steel-framed corsets to provide more metal to the war effort. Consequently, corsets went out of style (thank heavens).

Roles

As most of us know from 7th grade Social Studies, the lack of men in the workforce during World War II provided women the opportunity to do more jobs, resulting in this marvelous bit of propaganda;

(Never seen that before...)

Children will also shoulder more responisblity when given the chance.

War changes not only boundries and countries, but lives.

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Writing Scene Transitions

In answer to Marian's question, I decided to do an entire post. Hope it helps.

When jumping from scene to scene, it can end up choppy and confusing. This can be especially difficult for those who write out of chronological order (like me.)
So how do we smoothly stitch together all the changes in tone/setting?

Chapters
Chapters are handy when there's a major change in scenery. The end of a chapter usually signifies the end of a scene and folds up the tone of the previous chapter. But what if the jump between scenes is too short?

Telling Link
However much you want the dramatic pause at the end of the scene, sometimes the transition could be a simple sentence showing passage of time.
"He watched her disappear into the rain" can be a dramatic scene ending. But what if the next scene abruptly begins with, "'I don't understand women,' he said glumly, staring into his lukewarm coffee"? The solution is a small passage telling the events that led up to that moment. Example;

He watched her disappear into the rain, unable to move. Then, with a sigh that stuck to the wet cement, he walked back inside and climbed into bed, his damp clothes still on. But he did not sleep. When the gray morning light sifted through his curtains, he fell out of bed, numbly shuffling to his small kitchen.
"I don't understand women," he told his lukewarm coffee glumly...

The transition can be used to not only meld the two places together, but to provide extra information.

Traveling Transitions
One of the more difficult transitions to write is a change in setting. They need to get from A to B, but the plane ride is mediocre.
You have two options; quickly explain the length of the journey ("Two peanut packages and a Leo Tolstoy novel later, they arrived...") or shake things up a bit ("The man to her right smiled cheerfully at her. Too cheerfully. Alice clutched her handbag firmly. He'd get a shot of pepper spray if he so much as moved. But Alice didn't see him slip the pill into her water, or notice him nod to the silver-haired woman across the aisle...")

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Believable Part 2

More ways to make a story Believable;

Figurative Language

Setting
If your story is set in ancient Rome, using similes like, "She screamed louder than a train whistle" or "The cat purred like a humming computer" would seem out of place.
A great way to give tone is to use similes that match the environment.
Say you're in Egypt. Try something like, "The sky grew darker than a beetle's belly" or "I wish memories were as easy to wash away as sand." (I don't know. I've never actually been to Egypt.)

Characters
Even within a setting, there are different dialects, upbringing, and intelligence levels.
Is a high school student or an art teacher going to say "She smiled quizzically, reminiscent of the Mona Lisa" or "She grinned like the Cheshire cat"?
Keep in mind where they grew up and the education they received.

Reunions

Reunions are tricky to do. How would you act if you met your father after ten years? How about someone you thought to be dead?
First of all, is the character happy to see them alive and well?

Happy
In that case, I suggest tears, hugs, general jubilation, and the desire to never be parted again.

Not so happy
If it's someone you never wanted to see again, I can imagine that several painful emotions would follow. Perhaps anger or fear.

Naturally, the reactions depend on each character's personality.
In Cornelia Funke's Inkspell, the character Dustfinger returns home to his wife after years of being unable to return. When she sees him, she ignores his presence. They both love each other and are thrilled that Dustfinger has returned, but the wife is proud and hates to show emotion or weakness.

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Solving Problems and Creating Solutions

It's all good and fun to heap conflicts on our characters. That's what we want, right? The only problem with problems is that we have to solve them.

Two Birds with one Stone

One way to solve is by using one problem to solve another. You wouldn't believe how often this works.
For example, I was struggling with a Character A's lack of involvement in the plot. I was also trying to figure how Character B finds out that Character C is in trouble. The solution to both? Make Character A the messenger boy.
In these cases, the two interlocking problems aren't always obvious. Try combing through your story and making a list of plot holes and problems. Then put a couple together to see if they match up. It's sort of like a puzzle; two puzzle pieces are enigmas alone, but click them together and you're that much closer to the finish line.

The Brainstorm

This is the most logical technique; sit around and think brilliant thoughts. However, for most of us, it's not that easy.
Brilliance doesn't happen under pressure. Which is why the brainstorm shouldn't be taken seriously. If you're exerting pressure on yourself to be a genius 24/7, chances are you won't be.
Trust me. I once stressed and racked my brain for an hour, convinced that the only way to complete my book was by refusing to stop my brainstorm. In a word; failure. The only thing I accomplished was a week-long writer's block.
Successful brainstorming should be relaxed musing. No pressure, there's always another day to be amazing.

I never quite know when I'm not writing. Sometimes my wife comes up to me at a party and says, "...Thurber, stop writing." She usually catches me in the middle of a paragraph. Or my daughter will look up from the dinner table and ask, "Is he sick?" "No," my wife says, "he's writing something."
~James Thurber

Change the Facts

If the facts don't fit the theory, change the facts
~Albert Einstein

Sometimes, we write ourselves into a corner. The scenario is too impossible, the conflict cannot be resolved, and the characters are dead meat. If that's the case, un-write and rewrite. You're the author. Give the villain a tendency to oversleep, make the dungeon walls hastily built, the fortress located in an abandoned quarry, the evening wine drugged (You can imagine for yourself what these suggestions would resolve.)
You don't have to make things easy for the characters, just possible.

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