A Final Pass

by Miko Johnston

By the time you read this, the manuscript for my fourth A Petal In the Wind novel will be back from the editor and ready for its final draft before publication. Prior to sending it out, I made several passes through it, each time searching for ways to fix or improve the work.

In my first pass I searched for everything from formatting issues to misspelled words. In light of recent events I found parts of the story, which I’d begun writing in 2017, had become dated. I couldn’t gloss over a worldwide pandemic and the social rifts that emerged from political discord. Several new characters who were introduced in chapters written years before the book’s conclusion sounded too generic; I’d gotten to know them better as the story progressed and that needed to be reflected in their earlier dialog and mannerisms.

Other passes looked for repetition, excess verbiage, more precise word choices, missed misspellings, lapses in logic, and incorrect information. With that complete, I sent out my manuscript, anticipating a few more changes would be needed once I heard back from my editor. I took advantage of the wait time to put together all the additional material needed – logline, book blurb and synopsis.

Whenever I have to write marketing stuff, I cringe. It’s not what like to do, or do well. I view it as a necessary evil, and many authors I know feel the same way. However it must be done, and the good news: I’ve found an advantage to it beyond promoting the book.

When you have to encapsulate your x-hundred page novel into a one page summary, then a teaser for the back cover, and finally a one-sentence logline, it forces you to look at your theme in a different way. Gone are the long passages of prose, the snappy dialogue, the transitional scenes and flashbacks. You must have a laser focus on what your story is about – what you’re trying to get across to the reader in terms of theme, character, and plot. By doing so you sometimes will see aspects of the story that are important but may not have been shown in a compelling or complete way. So beyond my editor’s input, I saw that I wasn’t done with my revising.

I came to that conclusion when I encapsulated a 106,500 book into a few paragraphs with just a hint of where the story will eventually wind up. I had my external conflict and internal struggle, and pointed that out in my blurb. Then I wrote my logline:

Amidst the social and political upheaval in the aftermath of WWI, a woman who identifies as an artist marries the love of her life, but chafes at being relegated to wife and mother.

We can understand the difficulties a woman would face in giving up her career to marry and have children, especially at a time when such notions weren’t as accepted as they are today. But had I adequately shown how she feels in the book? Could I have made it not only clearer, but on a much deeper level?

The logline hints at the deeper issue. What she rails against is not being married to the man she loves, or even the challenges of motherhood. It’s losing her identity, having to see herself as only a reflection of her husband and children. When Jane marries John Doe, she becomes Mrs. John Doe. Her baby’s mama. She’d wonder—what happened to Jane?

My character Lala is a woman who’s accomplished a great deal despite her youth. She not survived the trauma and hardships of WWI and kept her family alive, but her home town as well. It’s described as a factory town north of Prague throughout the series. In America we’d call it a company town, where a single business – in this case a furniture factory – provides the economic base of the area.  Circumstances force her to take charge of the factory and oversee its conversion to wartime production. If it had closed, which it nearly did, the town would have been devastated. How can someone like this ignore all she achieved, the skills she developed, the talent that resides within her?

When the manuscript returns from the editor, I will review the comments and make some changes, including a few of my own – adding more layers of my character’s internal dilemma to the story. Then I’ll probably rework my promotional material. A writer’s work is never done…that is, until it goes to the publisher.

 

Miko Johnston, a founding member of The Writers In Residence, is the author of the historical fiction saga A PETAL IN THE WIND, as well as a contributor to anthologies, including “LAst Exit to Murder” and the soon-to-be-released “Whidbey Landmarks”. The fourth book in her series is scheduled to be published later this year. Miko lives in Washington (the big one) with her rocket scientist husband. Contact her at mikojohnstonauthor@gmail.com

 

A Life of Unfinished things…

 

 

By Rosemary Lord

Many of us get very reflective around this time of year, as we look forward to spending Thanksgiving with friends and loved ones.  I love this American tradition. As a transplanted, naturalized American, over the years, I have spent this annual celebration in so many different places, with many different people. I’ve listened to memories of childhood Thanksgivings, of different family traditions across the nation, handed downfrom great grandparents to sons and daughters and then to their offspring, in due course.

Frankly, I envy these traditions. And I just love the importance of all the special family dishes that are served. The recipes handed down through the generations have their ownstories. And the simple custom, at so many tables, of each person sharing what they are thankful for. It’s a wonderful time when everything else stops for a while, and people from different generations, different religions and all walks of life get together to simply say “Thank you.”

 After such a strange couple of years, I think many of us realize we have a lot to be thankful for. Maybe for things that we previously had taken for granted. Such as walking out in public bare-faced and exchanging smiles with strangers… an impulsive stop by your favorite family-run café – that is still in business. Or simply – hugs with friends.

As writers, we are more easily able to notice these little things that have come to mean so much. And as writers, we are especially fortunate that, whatever external restrictions the dastardly Covid plague inflicted on so many people, for us scribes, we could just keep on writing.

However, so often we get our story ideas from a chance remark in a casual conversation overheard – or eavesdropping (‘ear-wigging’ is the more colorful informal English term.) I would often make up my own version of the end of some snippet I’d heard and that would sometimes turn into a whole story.  

But during these cloistered times, we’ve missed out on overhearing strangers’ conversations.

The Covid situation affected people differently. All around us, some were having meltdowns, dramas, or ‘wobblies’ – as in “She/he’s having a wobblie” – a charming current English phrase. Others found a strength and a fortitude they hadn’t realized they possessed. They found a new purpose, as they stepped into the fray to help the home-bound, the elderly living alone, or the children without an open school to attend. They volunteered wherever they were needed. Many new friendships were created. Everyday heroes emerged, as people found innovative and creative ways to handle the situations we all found ourselves thrust into – and along the way, found ways to improve other people’s lives.

For writers, fascinating tales appeared for our writing brain to feed on. People stories.

These interminable lock-downs have given many people the chance to write that novel they always felt they had in them – but never had the time to pursue. For the uninitiated, they had their first crack at completing that novel. For us old-timers, it was the opportunity to maybe write outside our normal field. (Did I tell you I have a quarter of a noir, dark and creepy contemporary novel done? Who knew I could write that?) And for writers at every level, the burgeoning self-publishing market has been a boon and a blessing.

I have discovered so many new writers from all over the world – especially when I can get the bargain price of a used book, I don’t feel so guilty if I don’t like it. Plus, I have a whole slew of new books to read on my Kindle.

I must confess that my own, personal reading, at the end of a long day wrestling with Woman’s Club administrative ‘stuff’ is more and more escapist. Often tales of a newly widowed or newly divorced woman who decides to start a new life on the other side of the world and open a bakery or her own winery.  I’m re-reading my Rosamunde Pilcher favorites and re-discovering what a good, simple, nuanced writer she was. Her books are inspiring – usually about starting again, uncovering deep family secrets that lead to wonderful, happy endings. I like a happy ending. Especially these days. 

I think I have a life of unfinished things….  That’s what it seems like to me at the moment. Some painting and fixing things around my apartment. Some sewing bits and pieces. But mostly unfinished novels and stories, which is a good thing, because I have started some new writing projects and my busy mind keeps thinking of more. Not so good because I haven’t had time to complete them. And the characters in my stories are still whispering, nay yelling, in my head to share them with the world…

But I’m thankful for every moment when I am able to write – and plan that “next year it will be different. Promise!” Hmm, I think I’ve said that a time or two before. But I really, really mean it this time!

………………………………………………

Not Quite Cozy

by Jackie Houchin

(I’m early this month with my post, because I switched with the “other” Jackie – Jackie Vick  – who will be posting on Self Publishing on August 18th.)

I’ve recently read two books which are billed as “cozies” but have none of the more modern sewing, crafting, cooking, library/bookstore, tea shoppe/coffee house, or pet themes that we’ve grown accustomed to. (There’s nothing wrong with these if they are what you like to read!)

No, these were the “old fashioned” style mysteries, that are super-plotted, character-strong mysteries like Agatha Christie wrote. Clean, as far as no on-the-page sex, vulgarity, profanity, or excessive violence. Just good, captivating, complicated mysteries, sometimes in unique settings. 

Here are reviews of the two  books I read.

BLACK JADE, a Daiyu Wu Mystery by Gloria Oliver

What a fascinating book! It’s very different from the usual historical cozy mysteries out today. It has a main character who is unique and amazing in her disability, living in a disguised house with her once royal parents and a pair of staff who love and protect on her.

Black Jade, A Daiyu Wu Mystery by Gloria Oliver, is set in Texas in the early 1900’s, when the race issue is prominent against Asians, specifically Chinese, who are considered to be the “Yellow Menace.” Even more of a bias however in this story, is the rich vs commoner distinction. So when the second son of a British Earl comes to America and falls for a ‘common’ girl who is a waitress in a speakeasy, his hoity-toity relatives across the Pond rush to the first ship heading west to try and stop him marrying her. The means they use is macabra and horrific, but only the blind, Chinese Miss Wu, working in her family’s laundry is able to discover it.

The rest of the book takes us on a detailed and fascinating investigation to find and identify, first the victim, then the villain. (My guesses hopped from one to another of the book’s characters: all in vain.) But Miss Wu, accompanied by Jacques, her handsome companion and chauffeur (who also narrates the story), along with her new friends, a female forensic doctor and a millionaire playboy, moves along as surely as a bloodhound following an invisible scent (burnt garlic?) to the killer. She meets obstacles at every turn, but this gal is persistant and clever, and inspires those around her to not give up no matter what. The climax scene is a nail biter!  FIVE STARS

PS: I totally loved Miss Wu’s little dog, who goes everywhere with her. He has a strange name – Prince Razor. When you read this book, you’ll find out why.

 

GHOST DAUGHTER, An Alice MacDonald Greer mystery by Helen Currie Foster 

This is an amazing, sometimes jaw-dropping, mystery-adventure in which the heroine, Texas lawyer Alice Greer, risks life and limb to fulfill the last wishes of her friend Ellie. In Ghost Daughter, the newly widowed Ellie has discovered her long-lost daughter, conceived at age 17 and given up for adoption decades earlier. She wants to include her somehow in her estate and asks Alice to be executor if/when she dies.

Sooner than either expected, Alice finds her friend’s bloodied body in her own ranch house, along with a rearing, kicking, squealing horse! Yes, IN her house. LOCKED in. Huh? Instantly my mind tried to come up with suitable scenarios, but failed. There was nothing to do, but keep turning the pages.

And that was just the beginning of this fast-paced story with multiple complications and misdirections.

And what was so special in Ellie’s Santa Fe vacation house that could elicit murder? Alice tries to find out, but meets with “baddies” at each attempt. There are car chases through the mountains, unexplained  assination attempts, theivery of extremely valuable art right under Alice’s nose. And, if that isn’t enough, Ellie’s warring sons threaten to drive her up the wall with their arguing about who gets what. And the police can’t find the murder weapon or any evidence at all pointing to a suspect. 

There are no giveaways in the plot. To the literal last pages I couldn’t guess how, why, and by whom the murder of Alice’s friend was done. Thankfully the author ties everything together in a grand scene at the end.  FIVE STARS

I enjoyed Ghost Daughter so much, that I purchased Ghost Cave, the first of Greer’s six  books in the series!

Oh, and by the way, there is nothing “paranormal” in her Ghost books.  

#

I hope that in the future more of these new/old style cozy mystery books will be published. Books that challenge the reader to get out of her rocking chair and trudge the mean streets with the protagonist. 

PS: I just noticed that both of these books were set in Texas. 

 

 

Busy Then and Now 

By Linda O. Johnston

I’m busy.  I’m always busy. But busy before the pandemic began is a lot different from busy now.

Is that true for you, too?

 I’ve been writing forever, and I’m fortunate to be traditionally published a lot. That means I generally have faced a lot of upcoming deadlines. That hasn’t changed, although at the moment there seem to be more than usual.

But my busy-ness before was enhanced a lot by get-togethers with other writers at meetings of local chapters of Romance Writers of America, Sisters in Crime and Mystery Writers of America, and sometimes more.  Then there were all the conferences I attended, which often included the Romance Writers of America National Conference, held annually in different locations. Then there were Malice Domestic, Left Coast Crime, Mystery Writers of America, and other mystery-related conferences. I attended at least one a year.  And in addition, there were annual conferences locally, such as the California Crime Writers Conference.

And now?  Well, some get-togethers are available virtually. I’ve attended some chapter meetings that way, but not annual conferences.  I know Malice Domestic will be virtual this year and I keep receiving emails about it—but so far I haven’t decided to go.

That’s all certainly different from before.  But things seem to be improving now, as far as the ability of people to meet in person, though in smaller groups, and the necessity of being vaccinated, and wearing masks, although that seems to be changing at least to some extent and in some locations.

So will I go back to the old ways as things open up again?  I don’t know yet. Tempting, yes, but I want to feel more secure that I won’t get sick or bring the virus home to others. And maybe I’m getting into bad, more solitary habits this way.

I’ve been delighted, though, to meet some of my fellow Writers in Residence for our usual—formerly—monthly lunch recently!

And you? Do you attend conferences now, virtually or in person? Writing events? Reading events?

Image by TaniaRose from Pixabay

Mining Your Own Business

by Miko Johnston

That’s not a typo, it’s a play on words, inspired by a stream of advice I’ve gotten from many writing experts on a touchy subject. We’re told, write what you know. Does that include exploiting who we know?

MINING. Miriam pexels-keira-burton-6147138

How far are you willing to go to write a tantalizing mystery, an emotionally powerful drama, or a deeply moving character study? Would you base it on an actual incident or situation in someone’s life and its effect on them? I’m not talking about libel, but morality.

A piece in your news source of choice might inspire you to write a “ripped from the headlines” novel. Legitimate public information is fair play for adaptation, such as a criminal case or someone’s media appeal to raise attention to an issue. For example, some couples have had children in hopes of providing bone marrow or other vital tissue to save a stricken older child. In addition to non-fictional accounts and memoirs written by family members, many authors, including Jodi Picoult, opted that storyline for novels. Dramatic, yes. Is it exploitive?

What if something noteworthy happened in your own life? You might write a memoir detailing the experience and how it changed you. Or you could draw on the event to fashion a scene, and more importantly, for the emotions it evoked, whether it’s the pain of loss, the thrill of first love, the shock of violence or post-traumatic stress inflicted by a drastic incident. When I write about grieving or passion, feeling afraid or distraught, it comes from my own experience, but I do so voluntarily.

We base our characters, at least in part, on people we’ve known. We imbue them with that person’s physical characteristics or personality traits. Say you’ve given your sleuth, a Vietnam vet, the same war wound as your brother, and his nemesis flashes the pasty-faced smirk of your loathsome ex-boss. Those qualities illustrate the characters, but don’t define them.

Great writers incorporate their lives into their stories. They tend to base some characters on family members and people closest to them, portraits which are often unflattering and unkind.  Writers also mine tales from family and friends for source material. My own series of historical fiction novels began with a rumor about my grandmother. Stories about transformation, triumph over tragedy, and overcoming loss are rich with potential. As an example, a brilliant, successful woman marries a man who never divorced his first wife – and his family knows that when he walks down the aisle – makes a great storyline. What if she was your best friend? Or if a couple in your family, grappling with an intellectually disabled son who’s growing stronger and more aggressive, are agonizing over whether to institutionalize him?

In Betsy Lerner‘s excellent book, “A Forest For The Trees”, she urges writers to use whatever they can in their own lives to enrich their story, including incidents in the lives of the people closest to them. “If you are going to be honest and write about all the untidy emotions, the hideous envy, and disturbing fantasies that make us human, how can you not offend your loved ones, your neighbors and community?” A New York Times piece by James Parker, contributing editor at The Atlantic, endorses the practice of “invading” other people’s lives, but only if you can elevate it above exploitation; the purpose must be empathy.

For me the issue goes deeper than adapting an external experience. We can take plotlines from personal sources and show how one might feel in that situation, but what about someone far removed from ourselves? Each day I’m exposed to people whose experiences, based on their race, religion, ethnicity or sexuality, shape their world view, which differs vastly from mine. Are there places within a person that are too intimate to go, too unreachable to know?

MINING. miriam pexels-anna-shvets-5325091

In 1990 I worked on a conference sponsored by an organization of scientists who explore the repercussions of technological advancement. They chose as their conference  theme: Can We Do It? How Do We Do It? Ought We Do It? As a writer, I ask myself the same questions in understanding the social implications of storytelling, crafting diverse, authentic characters and emotionally compelling plots. Characters and plots that ring true to those outside the world I create as well as to those within.

A fiction writer’s goal is to produce a logical and believable manuscript, populated with characters, many who’ll be familiar to us and a few who thankfully bear no resemblance to anyone we know. We can borrow from their histories or instead, as Parker says, “invade” other people’s lives; strive for realistic portrayals or take Lerner’s advice to “be honest” enough to “offend”. That leaves me wondering: Is it proper to take the experiences of those we know best for the sake of a good plot?  Is it possible to mine the depths of emotions, or the most intimate thoughts, of someone so dissimilar from us?

Can we? How? Ought we?

###

Miko Johnston, a founding member of The Writers in Residence, is the author of three novels in the  A Petal In The Wind  saga, as well as a contributor to anthologies including  LAst Exit to Murder. She is currently pages from competing her fourth novel in the series. Miko lives on Whidbey Island in Washington (the big one) with her rocket scientist husband, who graciously helped her revise this post. Contact her at mikojohnstonauthor@gmail.com

Photo by Keira Burton from Pexels  

Photo by Anna Shvets from Pexels

BACK TO BASICS: Writers’ Boot Camp Part III

 by Miko Johnston

Last year I began the BACK TO BASICS series with BEGINNINGS and then presented MIDDLES, so as this is my first post of 2021, I’m beginning by ending the series with ENDINGS.

*

Congratulations. You’ve grabbed the reader’s attention with your opening and kept them rapt through your middle chapters. Don’t spoil things now with a disappointing or frustrating finale – the pages that comprise the lead-up to the climax through the final sentence. 

An off-putting beginning may discourage a reader, and when asked she’ll say, “I couldn’t get into it, but you might like it”. A problematic middle will dampen her interest, but she’ll likely continue, hoping for redemption. However, a bad ending will exasperate her. She’ll fume over wasting her money buying the book and wasting her time reading through to the end, and she’ll badmouth the book to everyone she’s ever met.

Am I right?

Once you’ve convinced a reader to buy your book, you don’t want to ruin all the time they’ll invest in reading it with an ending that falls flat, doesn’t make sense, or comes out of nowhere.  

A good ending must appeal to our emotions as well as our logic; move us, make us think, but also make sense. The best ending, simply put, satisfies the reader. This is not synonymous with a happy ending, which too often can be trite. It means the story finishes in a way the reader feels is plausible, based on what happened throughout the pages. She may be pleasantly surprised it didn’t turn out as expected, but as it ought to have concluded. Or she may be left wanting the story to go further and view the end as merely a good stopping point, which it should if you’re writing a series. Genres often dictate the type of ending needed – the detective solves the murder, the cop catches the criminal, the lovers beat all odds and wind up together. 

To conclude your novel successfully, first consider what doesn’t make a good ending:

1 – A lack of any closure. The point of the story must be resolved. You don’t have to spell everything out, but too many story threads left hanging will frustrate the reader. 

2 – Too ambiguous. You can leave some details to the reader’s imagination, but not the entire plot.

3 – Too neat. The opposite problem; tying up too much or having everything work out perfectly defies credulity.

4 – Too rushed. You want to build tension as you approach your final pages. A fast pace can produce excitement, but slow it down enough to generate that tension.

5 – Too drawn out. If you slow the pace too much you won’t generate tension and worse, you’ll lose the reader’s attention.

6 – Too contrived. Also known as deux ex machina or “the Martians landed”, this ending comes out of thin air with no foreshadowing in the story.

7 – Too predictable. Even if we know how the story will probably end, we still want something satisfying before we close the book.

8 – No ending. The story just stops.

If you’re wondering what satisfies readers you have only to look at book review sites like Amazon and Goodreads, which offer (usually) genuine critique. Your own experience as a reader will inform you as well. Classic endings include:

1 – Resolved: Effective in stand-alone stories where the protagonist has a goal and achieves it. The detective solves the murder. The lovers reunite. The operation is successful. This works best if it involves some plot twist, surprise or emotional satisfaction.

2 – Unresolved: Commonly used in literary fiction, where the point is to give the reader something to consider, or evoke an emotion. It’s often seen in series, where some plot elements are left for the next book, but trickier to pull off in a stand-alone. There’s a fine line between unresolved and ambiguous, so even when done well, many readers don’t find this type of conclusion satisfying.

3 – Open-ended: This is an implied ending, which like the unresolved ending, can frustrate readers who want to know, not contemplate, what happens. It differs from the unresolved ending in that the reader gets a sense of how the story turns out through foreshadowing in earlier chapters, or it might leave the plot open to interpretation, but complete the protagonist’s arc.

4 – The twist: Also known as a surprise ending. It differs from the contrived ending because it’s been adequately set up throughout the plot by lacing the story with subtle clues. Twist endings delight readers of mysteries, but it also works in other genres.

5 – Book-ended: I mentioned this in Part I of Writer’s Boot Camp. If you begin your story with the lead-up to the climax, complete the circle by returning to that moment at the end. Or, instead of pairing an action, create a symbolic book-end by repeating the theme of your opening, very effective in stories about never-ending battles like fighting crime, spies or terrorists.

6 – Statement or summation: This can complement or a contrast a statement or explanation beginning, and like it, tends to be cerebral. A successful version will be metaphorical rather than concrete, leaving the reader with something to think about, or picturing what happened and imagining what will happen next.

*******

The one element all good ending have in common is that they’re successful only when properly set up throughout the pages.

Still struggling? If your finale lacks closure or is muddled, it might be because you didn’t resolve enough story threads. Fix that with addition and subtraction – add enough details to flesh out critical plot point and edit out non-critical bits like multiple red herrings and extraneous characters or storylines.

If the pacing is off, decide whether you’ve rushed or dragged out the climax. If it’s the former, intensify the ending by delaying the payoff enough to create tension. Emotional reactions, thoughts, reasoning out, or physical actions like running, arguing or physically fighting can slow down a rushed pace with added conflict. Trimming might be enough to fix a plodding climax. Shortening sentences to an almost staccato rhythm speeds up the pace as well.

Does your protagonist feature prominently in the resolution of the story? There’s a reason a common synonym for protagonist is hero – we want our characters to be pro-active in bringing about the conclusion of the story. Make them active participants in their quest and its success or failure.

If pacing and character aren’t the problem, then consider the tone. Have you maintained continuity throughout? Can you justify your protagonist’s arc? I’ve read books that changed genres or mood along the way. In some cases the end bears little resemblance to the beginning. Find the scene where you lost your way and let it guide you to what and how much needs revising.

What if you don’t know the ending, or aren’t sure of how to bring it about?

I introduced the idea of writing different beginnings in Part I. It also works in reverse. If you’re unsure of how the story should end, consider the different possibilities and write out a few. See which works best with what you have. For example, if you can’t think of a good twist ending to your mystery, attempt a book-ended or a resolved ending. It may yield an idea for your story’s climax. Or, if you can’t decide between several endings, consider making it open-ended by inserting clues from the potential conclusions into the plot. Then the reader can decide for herself.

If you can’t seem to get to the ending you’ve planned, try the bridge technique outlined in Part II.  Link up the ending with the last chapters you’ve completed by working backwards for a while, then move the story forward to that point.

I hope the techniques I’ve outlined in this series have been helpful. Perhaps you have other methods you employ to open, continue or close your stories. We’d love to hear them.

MIRIAMs blog. kyle-glenn-_AR74EoWdy0-unsplash

Photo by Kyle Glenn on Unsplash

Miko Johnston, a founding member of The Writers In Residence, is the author of three novels in the historical saga A Petal In The Wind, as well as several short stories in anthologies including LAst Exit to Murder. She is currently completing the fourth book in the Petal series. Miko lives on Whidbey Island in Washington (the big one). Contact her at mikojohnstonauthor@gmail.com 

BACK TO BASICS: WRITERS’ BOOT CAMP PART II

by Miko Johnston

In any story, the beginning sets up the problem that must be solved and the ending solves it. How that happens comprises the plot, which plays out in the middle chapters. A good plot is like a good EKG, with lines that zigzag up and down. When tension and stakes increase, the line climbs upward. You never want a flat line; in matters of the heart and story, it indicates death.

In my last post we reviewed the three basic ways to begin a story as well as some techniques to get those opening pages written. What if you’ve gotten that far but haven’t moved forward?

Many writers get stuck after writing the opening chapter. A common problem is trying to perfect that opening. As a bone fide Brooklynite, I can say fuhgeddaboudit.

Nothing will hang you up more than trying to go over and over that first chapter, endlessly fine-tuning it before moving on. You can’t. You shouldn’t. Put it aside and keep going. Finish your first draft. Once you know how the story unfolds, go back and figure out how to fix the beginning.

Do you have a beginning and an end in mind? Then build your story like a bridge – set down firm spans on both ends and connect them in the middle. I wrote my first novel that way, working the plot backward from the final chapters and forward from the earlier chapters. Mysteries often fall into this category; you know the crime (beginning) and whodunnit (the reveal at the end). Work your clues in both directions until they meet in the middle.

What if you don’t know where the story is going? Many writers prefer to wait for the muse to whisper in their ear rather than draft an outline. In that case, why not choose a path and follow it to its logical conclusion? Think of it like those maze puzzles – a path may lead to a dead end, but then you’ll know it’s a dead end and try another path, eventually finding the one that leads you in the right direction. Everything you write will help guide you to The End. Two caveats, though:

-If you have a beginning and only a vague idea of the end, you’ll want to have enough to get you well into the middle before you tackle a novel, otherwise you may never reach your destination. My second book took over four years to write; I meandered through two plots I ultimately discarded, then conceived a third one worth pursuing.

Some writers feel as soon as it’s on the page, it’s permanent. Not so. In my second novel I found a way to solve a plot problem with a birthday surprise for my heroine, but I’d already given her a different birth date in my first novel. How could I get away with that? It took a week to realize an easy solution: neither book had been published yet, so I could change the date in book one to fit my new development.

***************

Are you stuck in the middle?  Writing your middle chapters, but unsatisfied with them? Fortunately, sit-ups and planks aren’t required.

Ways to improve a weak middle:

1 – Always keep your genre and theme in mind.

Your genre can shape how your story unfolds. A humorous cozy should be light and fun. Noir should be steeped in atmosphere. Use your theme or log line as the foundation on which you build your plot, and a guide to move it along.

2 – Take advantage of the multiple uses of dialogue

It can move the story forward, briefly slow the pace, draw our focus to a plot point or clue like a camera close-up, inform us of character, or foreshadow a later development.  Dialogue tags like Jon said identify the speaker, but by using a bit of action – Jon tossed his keys on the table – you also add movement. Finally, consider how your characters speak and what they don’t say.

3 – Keep the plot, and your character, active.

Not enough action will bog down the pace, but action means more than shooting and fighting, or running after suspects. Action can be physical or mental. Action is your character DOING whatever it takes to reach her goal.

4 – Have at least one mid-point crisis.

A good story always launches with a crisis and climaxes with a bigger one. Crises generate tension, which keep the middle from sagging. Introduce sources of conflict, whether leads in the investigation that fall through, the death of a material witness or ally, or a setback in the hero’s goal. Just make sure the crisis fits the story’s momentum and doesn’t exceed your climax scene.

5 – Avoid dumping in too much backstory.

Whether you’re trying to bring your character to life or writing a sequel, you need some backstory, just not too much. What are you trying to accomplish with the information? Insight into the character’s past that would explain why she does what she does? A reminder in a sequel of an event in a previous book? Ask yourself three questions:

            Is this information necessary for this story?

            Does it help to define the character or support the plot?

            Does it move the story forward?

If no, leave it out. If yes, then keep it brief. I read a few series and find the best of them will remind readers of characters and events with a line rather than a paragraph.

6 – Watch out for repetition.

We all know best-selling authors of series who, after a dozen or more books, begin padding their sequels with repetition. Just like unnecessary detail will bog down your story, so will repeating events or dialogue over and over and over and….. If you’ve just written a scene where an action occurs, your character doesn’t have to repeat this information to another character in the following scene. She told him what happened or words to that effect will suffice. If we need a reminder of what transpired later in the story, keep it brief.

7 – Reward and surprise us.

What’s worse, a story that’s totally depressing or totally predictable? Trick question; it’s a tie. Even the most dystopic stories must have moments of lightness. Whatever your character’s goal is – trying to solve the murder, find true love, succeed in business or win the battle – mete out some successes along with the setbacks. Lace in enough twists and surprises to hint how the story might end without giving the ending away.

This is particularly true in mysteries. Setting up a good red herring can be tricky since readers expect them. They’re delicious when they surprise us, but like all fish, if they’re mishandled they stink. As much as I enjoyed Girl On A Train, it was obvious who the murderer was a hundred pages before the book’s conclusion. Nothing’s more disappointing than knowing without a doubt exactly how the book will end. You presume the detective will solve the murder, but still want the pleasure of discovering HOW it happens, especially if the manner is unexpected. Just make sure that the reward or surprise is rooted in the story. Don’t plop something in for convenience. Weave a subtle thread back to earlier chapters to set up the surprise properly, or base the reward on something she wants or needs, even if she doesn’t know it.

8 – Keep the dialogue and prose in proportion.

Do you have enough dialogue? Too much? What about sensory detail, setting, character descriptions? There’s no magic formula but we don’t always consider the balancing act. Rereading your story, looking for something you don’t always consider, gets you looking at your pages in a different way. You may catch something that’s not working, even trigger an idea or solution. 

9 – Keep the middle in proportion.

I am not partial to using formulas for writing books (and have the luxury of not having to rely on them). However, if you’ve written several chapters and are unsure how the story is progressing, consider the percentage of pages dedicated to the middle versus the beginning and end. Although not a precise measurement, the opening, from Once upon a time to the inciting incident that launches your story, should comprise about a quarter of the total number of pages. So should the final act, from the climax scene to The End. That means the middle should be roughly half of the story. If your opening chapters comprise sixty pages and you’re up to page 300 but nowhere near the climax, your middle is probably bloated. If your middle is proportionally light, flesh it out or shorten the rest.

*          *          *

Still stuck? If you’re a visual person, try charting out your story, or as much of it as you know, on some kind of diagram. I’ve used line graphs, with peaks for crisis points and valleys for slower parts. I’ve used box charts, where I divide a sheet of paper into sixteen boxes – four for the beginning, eight for the middle and four for the end. In each box I briefly describe what’s happening at that point of the story. This shows me how the plot is developing as well as the balance between the acts. Since I write historical fiction, I also parallel historical events with my characters’ lives. If you write mysteries or thrillers, especially the cat and mouse variety, you can chart your hero’s progress against your villain’s actions.

If you’ve conceived some scenes but not an entire chapter, write it in chunks and assemble it later. If you prefer working with a hard copy, write the individual scenes, conversations or actions, leaving ample white space between them. Print them, cut them into sections and assemble them as you think works best. Move everything around until you have the order you want, and insert blank paper between the sections that need connecting. Pencil in notes about what you need to connect the passages. Use this to guide you through completing the chapter, or flesh out other chapters. It moves you forward. If you don’t like the direction, at least you’ll know another dead end to avoid. This can be done on the computer if you prefer working that way.   

Another technique that has proven helpful is to change ‘jobs’; instead of writing prose, think of yourself as a movie director. Can you visualize the scene you’re trying to create? How would you direct your characters? If there’s something missing in the scene, get input from the set dresser or wardrobe coordinator. As authors we tend to see our work from on high. Peering at it from a different angle gives us another perspective. Even closing your eyes and envisioning the words you’ve written (or listening to them being read) will make them pop and come alive, or hint at why they don’t.

Consider writing free-form dialogue, which I’ve described in this earlier post. This gives your characters an opportunity to speak for themselves. Sort of like the director asking the actors to ad lib their lines. If that doesn’t work, you may not know your characters well enough to ‘speak’ for them. In that case:

-Play the “who would I cast as…?” game – think of people, either famous or those you’ve known, and match them with your characters. Consider why you chose that person to help you flesh the character out.

-Try to describe your key characters in a word or brief phrase, then look for signs of commonality and discord between them.

-Define them with an image. For example, think of type fonts as a logo. If you were to assign a different font for each of your characters, which would represent them best?  

————————–

Once you’ve written an attention-grabbing beginning and a turn-the-page middle, you need to reward the reader with a satisfying ending. In the final installment, we’ll explore what that means and how to achieve it.

                                                                        #

Miko Johnston, a founding member of The Writers In Residence, is the author of three novels in the historical saga A Petal In The Wind, as well as several short stories. She is currently completing the fourth book in the series. Miko lives on Whidbey Island in Washington (the big one). Contact her at mikojohnstonauthor@gmail.com

What to Write When the (Ink) Well is Dry.

That is where I am right now.

Oh, sure, I’m writing every day: checks to pay bills, answers to emails and texts, posts on Facebook and Instagram, birthday cards to put in the mail that day, a grocery list, a “to do” list, a note to Hubby about an errand I need to do and when I’ll be back.

But creative writing? Um, no. Unless you count a quick book review I pound out in fifteen minutes, knowing that unless I do it today, it will be late, and then I’ll feel awful. Too bad I only skimmed the last two chapters… but you don’t mention how books end anyway, do you? And then I still felt awful, because I’ve always determined to finish a book – every word – before writing a review. Boo-hoo.

Oh, I do write curriculum for my third (used to be fourth) to sixth grade class* at church every week. That can be fun. The delivery can be somewhat creative, but not the text of course. It’s the Bible, after all.

In one point in last week’s lesson I was teaching how that precious Word of God is called “the sword of the Spirit” in the Bible. “Sharper than any two-edged sword, able to discern the thoughts and intents of the heart.” I’d been teaching them the first sermon preached by Peter, the fisherman-turned-apostle, when I came to its conclusion. (It’s a doozy!) I pictured a duel between forces of good and evil, raised my imaginary sword and did a bit of fencing (pantomime, of course), ending up with my opponent on the floor, my sword tip on his chest. The phrase “coup de grace” came to my mind, and still holding my imaginary position with opponent pinned down, explained the French phrase. “The final blow,” I said, looking at the fifteen kids slowly. “The thrust that pierces the heart,” I said. And then I jabbed my sword right to the floor… holding for a few seconds before looking up. Then I jerked it free, held it high, then slipped it into my imaginary sheath at my left hip.

There was quietness for a few seconds, then I had the kids read verse 37 of Acts chapter 2, which was the response of the crowd to the strong finish of Peter’s sermon. It reads, “Now when they heard this, they were cut to the heart, and said to Peter and the rest, ‘Brothers, what shall we do?'” Peter’s inspired use of Scripture had brought instant conviction.

But that was “creative” thinking and teaching, not writing. So what do you do when your ink well is dry?

  1. Read in the genre you want to write. Read for pleasure (maybe even some old favorites). Read those authors who inspire you. Read, read, read.
  2. Go online to the sites that list daily (a month at a time) story prompts or story ideas. Here’s one I sometimes use. (Click farther on the site for other ideas.) https://mailchi.mp/writerswrite/daily-writing-links-29-september-2020?e=befa474c79
  3. Start (or start up again) a daily or weekly journal. I have to admit that when we returned from our (fantastic) cruise and a week later faced the monster that became Covid-19, I quit journaling. (Crazy huh? What a “ripe” season of lockdowns, scary bar graphs, no one working, everything closed, ghost freeways, that I could have used in stories. Sigh!) Well, it’s not too late. Maybe begin with a “to do” list, and comment on your doings and feelings during that day. Or… you choose.
  4. Study books by writers that give instruction. A few weeks ago we had Sara Rosett as a guest blogger. She wrote about she used lots of things for Research in her historical mysteries. But she also mentioned a couple “How To ” books she has written. “How To Outline A Cozy Mystery” and “How to Write a Series.” Both are easily found on Amazon. (I recently bought them both and am eager to dig in, for at least a chapter a day.) Look for books on short story writing by our own The Writers In Residence, G. B. Pool.
  5. Take note of those weird dreams. Hey, maybe your creative muse is locked down inside your head, and wants to safely, with some social distancing via dreams, give your mind some help.
  6. Look at a calendar. Upcoming holidays are always good for getting the juices or muses working. Think back to fond memories. Think forward with some Sci-Fi or Fantasy weirdness. Let the seasons inspire.

Do whatever it takes, even acting out some scenes from your favorite book in front of your spouse, dog or cat, or the mirror. The movements, actions, even words may lead to some nice black… or maybe purple… INK in your writing well.

###

*I used to teach a class of 4th to 6th graders, but now that all must wear a face covering in class, I have inherited the 3rd graders as well. (They used to be together with 1st and 2nd grade.) According to the “order,” all students in 3rd grade and up must wear masks etc. Second grade and below do not have to. The Children’s Ministry leader felt it would be hard on some in a class that have to wear them while others didn’t. But, on the fun side, I’ve discovered that those third graders are pretty sharp too and I only need a little tweaking of the lesson that I prepare for the older kids. (PS: I wear a face shield, so the kids can see me better.)

Back To Basics: Writers’ Boot Camp

by Miko Johnston

Have you been writing? No? I hear you. We can’t seem to find the energy, or the creativity, to write. Even though we have a file full of ideas to play around with, or a started piece, or a half-finished manuscript. Even though we have plenty of time to write with no excuse other than the million other things we can be doing. Cleaning out the hall closet. Again. Thinking of a new way to use canned tuna.  Researching unfamiliar candidates on my primary ballot – maybe I would want the next governor of Washington to be Goodspaceguy* : )

I sympathize. It took me a few months to get inspired enough to write again (see my last post).  If you’re still stuck in neutral, I’m here to help get you in gear. And what better way than to get back to basics – how to write a story.

WHAT IS A STORY?

A story is a fully formed concept that has a beginning, middle, and end, plotted with characters, goals, conflict, and stakes. This applies whether you write short stories, screenplays, novellas or novels.

HOW TO BEGIN:    

When you consider buying a new book, you generally open it and read a few pages before you decide to take it or leave it – you can even do that online with Amazon’s “Look Inside” feature. If the book’s middle sags, or the ending isn’t satisfying, you won’t know that until after you’ve purchased it. However, if the beginning doesn’t grab you, it’s not going home with you. That’s how readers will react to your book. This is why the most important part of a story is the beginning.

A beginning has to serve many purposes. It must introduce us to the ‘who’ of the story, also some of the what, when, and why. The tone and genre should be apparent. It should also give us enough to pique our interest; too much bogs down the story and too little leaves us scratching our heads.

As authors, we really begin by sitting down and writing. Thinking, mulling, researching – all important, but they won’t get the words on the page. Once you’ve committed to writing, you need a way to begin. The possibilities might seem endless, but there are basically three ways to launch a story.

I           Mid-action

This is when you begin at the last possible minute to give the reader a sense that the story has already started and they’re joining it already in progress. This may seem counterintuitive, like walking into a movie after it’s begun, but it tends to get the reader curious about what’s going on, so they keep reading to find out.

A good example of this would be a murder mystery that opens with the detective arriving pre-dawn at the crime scene; a beat cop hands her a take-out coffee and reads his notes: “The vic is….”, which gives readers information simultaneously with the detective. We don’t need to be in her bedroom when she’s awakened by the precinct’s call, or watch her get dressed, fix breakfast and head out to her car. That would be like arriving at the movie theater before the commercials. With mid-action, you get the reader engaged right away and weave in the details as you go.

II         Setting a scene that’s about to change

This is when you open with a scene of normal everyday life. It could focus on a character, like a young woman celebrating her promotion with her office mates, then walking home alone. Or a place, like a military base in the Middle East, where soldiers are relaxing. Often the genre hints that the placid opening will be disrupted with a bang – maybe literally. If the book’s a mystery or a thriller, you know something is going to happen – that young woman will be murdered; the soldiers playing cards or tossing a football around will suddenly come under attack. If the genre doesn’t imply something will happen, hint at it in your opening paragraph or page.

The key to this method is to hold off the revelation long enough to generate tension. Change it too soon and it will be like shouting BOO; startling but not satisfying. Wait too long and the reader will lose patience as well as interest. It also must depend on the length of the manuscript. You can take more time with a novel than with a short story.

III        A statement or explanation

Common in many great classics, this type of beginning employs a form of narration:

            A nostalgic “I remember…” musing

            A “Let me introduce myself” statement

            A narrator’s observation

            An implied ‘bookend’

            An omniscient point of view.

Mysteries that open with the murderer observing his deed, such as Paula Hawkins’ Girl On A Train, is one example, since the murderer is not the protagonist. Using an implied bookend, Lawrence Hill begins his engrossing novel,  Someone Knows My Name, with his elderly heroine ready to tell a packed audience her life story. The rest of the novel is told in flashback up to the climax, which brings us back to her about to go on stage.

Using this method addresses the reader in a direct way, which builds a bond. However, it introduces the plot slowly, in a cerebral rather than a dynamic manner, so it must intrigue us enough to keep reading. You can accomplish this with an opening sentence in a short story, but longer form fiction allows for more time.

Confused yet? Think of beginning a story like getting into a pool. Some just jump right in – method one. Others will dangle their feet in the water awhile, then slip in – method two. Others (me) will dip a toe in, complain about how cold it is, then slowly inch deeper into the pool until the water’s shoulder-high before gliding under – method three.

*          *          *

Are you are having trouble starting your story? Consider writing three different versions using each of these methods, then see which best accomplishes the goal of an opening. Which will lead you in the direction you want to go? Even though you’ll reject two of the openings, you may keep a nugget from them to use elsewhere. Or, if you decide to use a bookend opening, you can convert one of your other versions into chapter two.

Have you begun your story but aren’t satisfied with it? Does it feel bloated with backstory? Does it convey enough to grab the reader’s interest? Which type of beginning did you use? Does it satisfy the goals of that method? If so, perhaps trying another method would be more effective, or it might suggest a fix for your original beginning.

Your opening should not only prod your readers to keep going, but you as well. Again, even outlining an opening using another method of beginning may prompt some questions or ideas that will move you forward. If you’re writing a sequel, try rereading your previous book, or go back to the beginning and reread them all. It may give you momentum, or you may find some detail that triggers an idea to follow up on.

*          *          *

Have you gotten stuck after writing the opening and can’t seem to progress? Does your plot feel bogged down and going nowhere? In the next installment, we’ll look at ways to keep the middle from sagging or lagging.

*Spacemanguy` was an actual gubernatorial candidate in Washington state’s primary election. He lost.

Miko Johnston is the author of three novels in The Petal In The Wind series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington (the big one). Contact her at mikojohnstonauthor@gmail.com 

Genres and Generalities

by Linda O. Johnston

LINDA scott-broome-BcVvVvqiCGA-unsplashI love to write.  I love to write novels that contain romance.  I love to write novels that contain mystery or suspense.

Any surprise, then, that I write in multiple genres?

I’ve mentioned some of that before while blogging here.  At the moment, as with many people who do many things, my career seems to be changing a bit, yet staying the same.

And yours?

I’m currently writing romantic suspense novels for Harlequin Romantic Suspense.  I have a couple stories I’ve turned in that are my own plotting, and I’m currently working on another of HRS’s many, multiple stories about members of the Colton family, who always seem to be finding wonderful relationships and also dealing with a lot of crimes.

LINDA adult-1850704_640My kind of story, and I follow their bible and have my characters interact with the protagonists of other Colton stories in the various mini-series that are part of the Colton series.  When I write stories that are all my own I fit a lot of dogs into them, and occasionally have been able to slip one in to a Colton story.

I’ve also written a lot of cozy mysteries over time.  My most recent cozy publisher went out of business, so I don’t have any currently in progress–although I believe, and hope, that a publisher that’s new to me is going to buy one of my ideas.

So–yes.  I write in different genres, and often read in different genres to keep my ideas flowing.  Generalities–I guess I can say I love fiction, I love suspense and mystery, I love animals… and, as I said, I love to write.  Even these days, when there’s a lot going on in the world nearby and elsewhere.  My writing has slowed as a result, but it goes forward.

It’s always fascinating to me to see that some writers stick to their primary genres as long as they write.  Others are like me and have more than one favorite genre that they also  go back and forth among–or sometimes combine them, as I do. Of course my cozies contain a romantic interest, and all my romances also contain suspense or mystery.

So how about you?
What are your favorite genres?
If you’re a writer, which genre(s) do you prefer to write in?
Or read in?
What’s your general purpose for reading?
###
Linda O Johnston
Linda O. Johnston, a former lawyer who is now a full-time writer, has written two mystery series for Midnight Ink involving dogs: the Barkery and Biscuits Mysteries, and the Superstition Mysteries.  She has also written the Pet Rescue Mystery Series, a spinoff from her Kendra Ballantyne, Pet-Sitter mysteries for Berkley Prime Crime.  Currently writes for Harlequin Romantic Suspense as well as the Alpha Force paranormal romance miniseries about shapeshifters for Harlequin Nocturne.
This article was posted for Linda O. Johnston by Jackie Houchin (Photojaq)
%d bloggers like this: