If you've made it to Tip #21 then you're now thinking to yourself: "Um, Renna, I'm a writer. Duh." Obviously. But like everything else in the complex world which is writing, you're more than a writer. Author? Sure. Editor? Yep. Promoter? Probably, well, should be. Social media royalty? It'd likely help.
This is not about you being a writer or any of the above. It's about who you are as a writer. Do you plan and plot out every detail? Do you open up a blank page, have a theme in mind and go with it? Are you a mix of both?
We'll go deeper: do you find you write better in the morning, afternoon or night? Are you more productive in small bursts or long sessions? Do you need to work on multiple projects at the same time or are you the kind of person who has to get something completely finished before moving onto something else?
Do you have to turn off spell check and grammar check to get a chapter done? Do you have to go back and read what you wrote before to get back into the groove? Do you have to edit as you go? Do you have to write in silence or can you write with background noise?
Do you write old-school with pen/pencil and paper or is everything stored on your computer? Do you need to use a fancy writing program or are you okay with the basics? Do you write linerally or write whatever scene catches your interest?
Why is this important?
Well, figuring out who you are as a writer will help you succeed in you know, writing. If you don't know what makes you reach your peak word count goals per hour/day/week/month/year then you'll never hit those goals.
The problem is figuring out what kind of writer you are can take time. It can also change over time in drastic ways. Finding out your most successful approach to writing comes with experience and investment. It can also come with changes in technology as the world around us ages.
See, I used to hand write everything on paper with pencil or pen. I would never finish anything and never planned. I would write whenever and paper didn't have spell check so naturally I didn't edit as I went.
Now, everything I need for a novel can be found in one Word doc with a supplimentry document usually called "planning." I can still write whenever and I need to go back and read what I wrote to get back into the groove. I edit as I go and I always write from beginning to end, never deviating from the timeline to write a cool scene I'm looking forward to ahead of what comes before it.
I'm also a mix of both plotter and pantser. I have a large picture understanding, characters, a timeline, and maybe a few subplots but the majority of details and sometimes even entire scenes are written on a whim.
Heck, sometimes the entire story changes as I go and I end up with something better than I thought I would. I have to have music playing in the background or my brain will wander off and I won't get anything done.
Knowing all of the above has helped me win multiple NaNos, Camp NaNos, and has allowed me to successfully write a million words for the past, er, four years? Yeah. Something like that. It's allowed me to finish forty-someodd novels, a bunch of short stories and start Avalora (which is never-ending I swear).
I've also been able to plan my life around my writing. I know what I need to hit my optimal word counts and know how many hours it would take me to bang out a medium sized chapter. This means if I know I'm getting up early (or need to) I can plan some extra time to write during the week. I can plan around life-stuff and writing-stuff and not fall behind on anything.
I have time to socialize, to plan trips, work, and STILL make the million in a year. Mind you, I have gone from "must work on one project at a time" to "can work on more than one project" mainly because of the sheer size of Avalora and man, sometimes I need a break from the universe despite how much I love it.
There isn't a magic pill or special trick to figuring out who you are as a writer. You have to try everything in order to find the perfect flow but once you do then you'll be better for it.
Until next time: you know what to do.
Showing posts with label grammar. Show all posts
Showing posts with label grammar. Show all posts
Sunday, March 5, 2017
Saturday, February 11, 2017
Writing Tip #20: Writing Believable Characters
Ever heard the phrase "Mary Sue," or it's male counter-part Gary Stu? No? Lucky you and I hope you never have to hear it directed to you. Enough with the weird rhyming, let's get to business.
A Mary Sue or Gary Stu is a character who is so perfect in their "originality" that they are completely unbelievable. They're super-talented in a variety of ways, gorgeous beyond words, kind, and with a tragic backstory they overcome, and every other character either loves them or wants to be them. They succeed at everything and get everything they want with little to no effort. They're also completely un-relatable to the reader, boring, and usually make my eyes roll out of my head.
Why is it important to know about them? Because you don't want to end up writing one. If you do then your readers plain and simply won't be invested in the story. How can you when your main character is so perfect you can't relate to their so-called problems?
As the writer, it's difficult to figure out if you've got a Sue/Stu on your hands. You have to take a step back and view all your characters as if you're not the one who wrote them which can be hard at best, insane at worst. What can help is making a brief list of your character's strengths, weaknesses, physical attributes, and personality.
If you're finding you've got way too many strengths compared to weaknesses or flaws then you're encroaching onto Sue/Stu territory. If everyone loves your character and thinks they're beautiful then you're starting to cross the line.
So, how to do you create a believable character?
Make them human. Every character should have flaws. They don't have to be obvious like a scar or missing limb and really, sometimes those aren't flaws depending on the situation. Mind you, personality flaws can be strengths depending on the situation as well. Let me break it down with an example (and a wee bit of "self-promotion"):
The character: Bane Grimgold from Avalora
His strengths: self-confidence, an uncanny ability to remember most of what he reads which enables him to make complex potions without needing to look in a book, Julliard level violin player, the ability to know pretty much everything when it comes to potions and Herbs, his general genius when it comes to language, history, and anything related to being a Dark Mage which he is. His ability to portal long distances and his wicked aim. He's an excellent cook and can clean.
His weaknesses: he has no sense of direction, he can't remember dates like birthdays or other significant events in his life which is why he gets a new ear-piercing for every important memory, unlike a normal Mage he can't do the basic spells everyone knows, he can't levitate his body or summon object to him which all Mages can do, and he's physically not powerful. He loses his self-confidence and "swagger" when he experiences strong emotions like confusion and depression. He also has a tendency to push people away when he's upset about something. He's lazy.
His strengths that can be weaknesses: he's stubborn to the point of being annoying occasionally, he's super-observant which means he can tell what's wrong with his close friends quickly which can bug the Hell out of them and make people unable to keep a secret around him, his motivation depends on the situation which hinders and helps the people around him, he hates certain aspects about his magic which to some people these aspects are a good concept, he has no internal sensor which is great most of the time but he has a lot of "foot in mouth" moments. He does have to be prodded to do any cleaning which means his room is normally a disaster zone.
Physical traits: he's over six feet tall and slender to the point he's too skinny. He's got dark hair which is perpetually messy, dark brown eyes, and pale skin. He has high cheek bones, a strong jaw line, and a long, thin nose. He also wears black all the time, normally lines his eyes, and has a ring on every finger.
All the above makes him seem more real, like you could walk into him on the street...I hope. Ha. Anyway, you probably noticed Bane has a lot of viable weaknesses, real concepts part of his personality he probably won't ever grow out of or change much. Sure he can play the violin and make any potion he wants but when it comes to magic everyone else can do he fails. He doesn't even have the ability to control an element which all Mages have at least one.
He'll always be the kind of person to go hide and shut others out when he's upset. He's not one to talk about his feelings or talk out a situation which has made him depressed or annoyed. In general, he's not good when it comes to talking about his emotions. All of this takes him out of the Sue/Stu category which means he can be related to by someone out there.
Does he have a tragic backstory? Sure. His dad died in a cave-in when he was fourteen and he's a half-Mage which means some people in the Mage community and the non-Mage community will never accept him and always hate him. He never made any friends until going to Avalora because all his school mates were non-Mages and the few Mages didn't want to associate with him because he had the potential to the Grim.
Is he a complex character? Yes. Which is what you want, especially when it comes to main characters. Minor characters don't have to be as complicated but it completely depends on their roles. The waitress we see for one or two scenes: we don't need something as complicated as above. We might not even need her name.
But, if you've got a main character then they need to be human, or at least come across as human. They need real feelings, opinions, flaws or weaknesses, strengths, and a personality. It'll make your story more believable and your readers will get attached.
Remember, if you fill out a similar chart and you notice you've got way more positive then negatives, you have to take a good look at that character to make sure they're not treading into Sue/Stu territory. That would be bad.
Until next time, you know what to do.
A Mary Sue or Gary Stu is a character who is so perfect in their "originality" that they are completely unbelievable. They're super-talented in a variety of ways, gorgeous beyond words, kind, and with a tragic backstory they overcome, and every other character either loves them or wants to be them. They succeed at everything and get everything they want with little to no effort. They're also completely un-relatable to the reader, boring, and usually make my eyes roll out of my head.
Why is it important to know about them? Because you don't want to end up writing one. If you do then your readers plain and simply won't be invested in the story. How can you when your main character is so perfect you can't relate to their so-called problems?
As the writer, it's difficult to figure out if you've got a Sue/Stu on your hands. You have to take a step back and view all your characters as if you're not the one who wrote them which can be hard at best, insane at worst. What can help is making a brief list of your character's strengths, weaknesses, physical attributes, and personality.
If you're finding you've got way too many strengths compared to weaknesses or flaws then you're encroaching onto Sue/Stu territory. If everyone loves your character and thinks they're beautiful then you're starting to cross the line.
So, how to do you create a believable character?
Make them human. Every character should have flaws. They don't have to be obvious like a scar or missing limb and really, sometimes those aren't flaws depending on the situation. Mind you, personality flaws can be strengths depending on the situation as well. Let me break it down with an example (and a wee bit of "self-promotion"):
The character: Bane Grimgold from Avalora
His strengths: self-confidence, an uncanny ability to remember most of what he reads which enables him to make complex potions without needing to look in a book, Julliard level violin player, the ability to know pretty much everything when it comes to potions and Herbs, his general genius when it comes to language, history, and anything related to being a Dark Mage which he is. His ability to portal long distances and his wicked aim. He's an excellent cook and can clean.
His weaknesses: he has no sense of direction, he can't remember dates like birthdays or other significant events in his life which is why he gets a new ear-piercing for every important memory, unlike a normal Mage he can't do the basic spells everyone knows, he can't levitate his body or summon object to him which all Mages can do, and he's physically not powerful. He loses his self-confidence and "swagger" when he experiences strong emotions like confusion and depression. He also has a tendency to push people away when he's upset about something. He's lazy.
His strengths that can be weaknesses: he's stubborn to the point of being annoying occasionally, he's super-observant which means he can tell what's wrong with his close friends quickly which can bug the Hell out of them and make people unable to keep a secret around him, his motivation depends on the situation which hinders and helps the people around him, he hates certain aspects about his magic which to some people these aspects are a good concept, he has no internal sensor which is great most of the time but he has a lot of "foot in mouth" moments. He does have to be prodded to do any cleaning which means his room is normally a disaster zone.
Physical traits: he's over six feet tall and slender to the point he's too skinny. He's got dark hair which is perpetually messy, dark brown eyes, and pale skin. He has high cheek bones, a strong jaw line, and a long, thin nose. He also wears black all the time, normally lines his eyes, and has a ring on every finger.
All the above makes him seem more real, like you could walk into him on the street...I hope. Ha. Anyway, you probably noticed Bane has a lot of viable weaknesses, real concepts part of his personality he probably won't ever grow out of or change much. Sure he can play the violin and make any potion he wants but when it comes to magic everyone else can do he fails. He doesn't even have the ability to control an element which all Mages have at least one.
He'll always be the kind of person to go hide and shut others out when he's upset. He's not one to talk about his feelings or talk out a situation which has made him depressed or annoyed. In general, he's not good when it comes to talking about his emotions. All of this takes him out of the Sue/Stu category which means he can be related to by someone out there.
Does he have a tragic backstory? Sure. His dad died in a cave-in when he was fourteen and he's a half-Mage which means some people in the Mage community and the non-Mage community will never accept him and always hate him. He never made any friends until going to Avalora because all his school mates were non-Mages and the few Mages didn't want to associate with him because he had the potential to the Grim.
Is he a complex character? Yes. Which is what you want, especially when it comes to main characters. Minor characters don't have to be as complicated but it completely depends on their roles. The waitress we see for one or two scenes: we don't need something as complicated as above. We might not even need her name.
But, if you've got a main character then they need to be human, or at least come across as human. They need real feelings, opinions, flaws or weaknesses, strengths, and a personality. It'll make your story more believable and your readers will get attached.
Remember, if you fill out a similar chart and you notice you've got way more positive then negatives, you have to take a good look at that character to make sure they're not treading into Sue/Stu territory. That would be bad.
Until next time, you know what to do.
Saturday, January 28, 2017
Writing Tip #19: Killing Your Darlings and How to Deal with it
Any writer new or old knows the famous Stephen King quote: "Kill your darlings." What's a 'darling?' Any character, scene, word, chapter, or even full-length novel you wrote. No, not your actual darlings or loved ones, just the fictional ones.
What does he mean by "Kill your darlings?" Simple. KILL THEM ALL. Sorry. I had a Spartacus moment. Anyway, yes, King means to kill whatever you might feel is super important in your novel and yes, sometimes even your main character. Why? Lots of reasons.
When you kill a character you instantly invoke some kind of emotion in the reader and making your reader emotional is your goal. If they feel nothing then you're not doing your job. Then there's the whole dealing of the death of a character your other characters have to deal with and that will give you conflict. Plus hey, there's a cool death scene to write.
When you kill your scenes, certain words, or full chapters then you're tightening up your writing. You have to learn to read your writing from a reader's perspective. You have to learn to read your writing as if you've never read it before. You have to disengage yourself from every word, scene, and chapter so you can make your novel the best it can be. What does it do for you? Makes you a better writer. Plus it puts less strain on your editor.
So, how do you deal with killing your darlings?
First off you have to take the initial step in actually, you know, killing a darling. Start small: take out a few unnecessary words then take out a whole scene, maybe even *le gasp* a chapter. Honestly dissect your writing, look it over word by bloody word to see what doesn't move the story along. Once you find that non-consequential bit: take it out.
What do you do if that unneeded bit is a character? Well, you slaughter them mercilessly while cackling from atop your high tower. Sorry. The imagery helps me.
But seriously, you kill them. Throw them off a building, have them stabbed 27 times, let them get hit by a car, have them beheaded, burned to death, have a heart-attack, whatever makes sense for your world and your story. BUT, make sure the death will be impactful.
Don't go randomly killing off all your characters seconds after you introduce them (I'm looking at you Basilisk). You have to make the reader feel something for that character before you kill them off especially if they're a main character. Minor characters? Eh, not so much though you can and should feel free to try.
How do you know if a character is going to die? You take a good, long look at your story and that particular character. How will the story change with the character's death? What impact will this death have on the other characters? Do you need this character in another part of the story? Can your story survive without them? The deaths in The Walking Dead are all meaningful.
*SPOILERS* Pete's death by Rick's hand shows Rick's descent into madness, how he's become this tragic "survive at any cost" character which is emphasized by Morgan's reaction. Noah and Aiden's deaths reveal how much the Alexandria group really needs to learn. Tyreese's death is the loss of the "optimistic" character. Beth's death is the loss of innocence. *End Spoilers*
Like I said before: every character death has to mean something or move along the plot. If it doesn't then you didn't need to kill that character off. Don't kill off a character to end a series because you think you'll keep writing if you don't kill said character off. You'll have a lot of disappointed readers if you do that. Readers like to imagine what could have been after the series.
So, how do you deal with a character's death?
It depends on the character. You can either slaughter them horribly or have them go peacefully but again if you're not feeling something then your reader won't. Every main character I've killed I've felt something for. Yes it hurts. Yes I was balling like a baby as I wrote. But guess what? My readers will do the same.
So, buck up, take a few breaths, and kill the darling. Feel free to cry. Don't worry if you have to stop to get some semblance of sanity back. Do it. Kill your darling because it'll make you a better writer.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments.
What does he mean by "Kill your darlings?" Simple. KILL THEM ALL. Sorry. I had a Spartacus moment. Anyway, yes, King means to kill whatever you might feel is super important in your novel and yes, sometimes even your main character. Why? Lots of reasons.
When you kill a character you instantly invoke some kind of emotion in the reader and making your reader emotional is your goal. If they feel nothing then you're not doing your job. Then there's the whole dealing of the death of a character your other characters have to deal with and that will give you conflict. Plus hey, there's a cool death scene to write.
When you kill your scenes, certain words, or full chapters then you're tightening up your writing. You have to learn to read your writing from a reader's perspective. You have to learn to read your writing as if you've never read it before. You have to disengage yourself from every word, scene, and chapter so you can make your novel the best it can be. What does it do for you? Makes you a better writer. Plus it puts less strain on your editor.
So, how do you deal with killing your darlings?
First off you have to take the initial step in actually, you know, killing a darling. Start small: take out a few unnecessary words then take out a whole scene, maybe even *le gasp* a chapter. Honestly dissect your writing, look it over word by bloody word to see what doesn't move the story along. Once you find that non-consequential bit: take it out.
What do you do if that unneeded bit is a character? Well, you slaughter them mercilessly while cackling from atop your high tower. Sorry. The imagery helps me.
But seriously, you kill them. Throw them off a building, have them stabbed 27 times, let them get hit by a car, have them beheaded, burned to death, have a heart-attack, whatever makes sense for your world and your story. BUT, make sure the death will be impactful.
Don't go randomly killing off all your characters seconds after you introduce them (I'm looking at you Basilisk). You have to make the reader feel something for that character before you kill them off especially if they're a main character. Minor characters? Eh, not so much though you can and should feel free to try.
How do you know if a character is going to die? You take a good, long look at your story and that particular character. How will the story change with the character's death? What impact will this death have on the other characters? Do you need this character in another part of the story? Can your story survive without them? The deaths in The Walking Dead are all meaningful.
*SPOILERS* Pete's death by Rick's hand shows Rick's descent into madness, how he's become this tragic "survive at any cost" character which is emphasized by Morgan's reaction. Noah and Aiden's deaths reveal how much the Alexandria group really needs to learn. Tyreese's death is the loss of the "optimistic" character. Beth's death is the loss of innocence. *End Spoilers*
Like I said before: every character death has to mean something or move along the plot. If it doesn't then you didn't need to kill that character off. Don't kill off a character to end a series because you think you'll keep writing if you don't kill said character off. You'll have a lot of disappointed readers if you do that. Readers like to imagine what could have been after the series.
So, how do you deal with a character's death?
It depends on the character. You can either slaughter them horribly or have them go peacefully but again if you're not feeling something then your reader won't. Every main character I've killed I've felt something for. Yes it hurts. Yes I was balling like a baby as I wrote. But guess what? My readers will do the same.
So, buck up, take a few breaths, and kill the darling. Feel free to cry. Don't worry if you have to stop to get some semblance of sanity back. Do it. Kill your darling because it'll make you a better writer.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments.
Saturday, January 14, 2017
Writing Tip #18: Death and Where to Stick 'em
This tip is going to be way different than the other tips I've written about so freaking long ago. Sorry about that. Anyway, we're not talking about dealing with the death of your character. That's next time. Today, we're dealing with what happens to a typical person when they're, you know, KILLED. And yes in the physical sense.
For those who don't know: I wrote a 13 book thriller/murder mystery series. I went into the Forensics side of things (vaguely) and found out a lot of interesting things about what the human body does when placed in the vicinity of various deadly objects.
In short: can your character jump into ice water and swim for a mile? Nope. Unless they're immune to the cold they will experience hyperthermia almost immediately. If the water's cold enough they may even have a heart attack upon hitting said water. There are certain factors in determining hyperthermia. I found a cool article: HERE. I used said article's information in Bloody X-Mas.
Can a character survive the blast of a 12 gauge shot gun at 10 feet? Nope. Unless the person shooting at them grazes them and even then it could cause your character's death. A 12 gauge shot gun can go through at least one cement wall and can blow a hole through a tree. The human body is all soft tissue and muscle. Our bones aren't even as hard as cement. If you get grazed with a 12 gauge, you are going down. This information appears in Hunter.
Can your officer character hit a target at 15 feet? Maybe but with a standard issue Glock: they're going to stun and not kill. The range on a police Glock is 10 feet and that's if your character is a good shot.
Can you shoot one-handed or while in a moving vehicle? Nope. Recoil is a bitch and you will have a sore wrist or be thrown back depending on the size of your gun. Can you fire a bigger gun from hip height? Kind of. The butt of the gun should be supported by your pelvis or your shoulder to prevent recoil because the bigger and more powerful the gun then the further back you're going to be thrown.
For those who think your character can survive a cut to the upper arm, stick a patch on it, and move around for days, here are some bleed times for various arteries. Bleed time refers to about how long it will take a person to die if they are struck in said place. It depends on the person's age, heart rate, etc. I found all these here when looking for the proper name of the brachial artery.
Carotid Artery (neck): 2 to 20 minutes.
Jugular Vein (neck): 2 to 20 minutes.
Subclavian artery: 2-20 minutes. This is an artery in the shoulder that runs down the front of a person's body and by the first rib. Unless someone does field surgery on you right away: you will not make it.
Subclavian vein: 15-60 minutes.
The Brachial Artery: 5-60 minutes. This is the one located in your upper arm and protected by the bicep. Depending where you cut along this artery changes the bleed time. Up closer to the arm pit and you're looking at the 5 minute range. Down further by the elbow and you might survive a bit longer.
Femoral Artery: 5-60 minutes. This is the big one located in your upper leg. You hit this puppy right and you're going down in seconds.
Axillary artery: 5-60 minutes. You can hit this via the armpit and front of the shoulder joint. It's hard to hit but an upwards slash or stab hit just right and the wound becomes extremely difficult to treat even with direct pressure. Yes: insta-death.
Inguinal artery: 5-60 minutes. It feeds the femoral artery in the leg and can be accessed by striking upwards between the legs and into the groin. Another extremely difficult wound to treat even with applying direct pressure. Think Blackhawn Down.
Aorta or any part of the heart: 1-2 minutes. These are instant death bleeders.
So, what's in a CSI Kit? It depends on your kit. Here's a good website to check out: https://www.shopevident.com/category/field-kits-crime-scene
How do you do an autopsy? Wiki-how gives you a nice step-by-step guide WITH pictures located here:
http://www.wikihow.com/Perform-an-Autopsy-on-a--Human-Being
How long will it take you to dig a grave? Well, that depends on a lot of factors. If you're doing this at night with a shovel, are average in athletics, and the ground isn't frozen from the winter, and the grave is shallow: about 3-5 hours, depending how shallow. You WILL NOT be able to dig a grave in an hour, with a shovel, in the middle of the woods, at night. It is not possible. I found a cool thread: http://boards.straightdope.com/sdmb/showthread.php?t=486094
I have reams of information about decay times dependant on environmental factors as well as information about the human body in general. I don't have a link for any of it, sorry. I would suggest for any author wanting to delve into crime fiction or murder mystery: take a basic Forensic Anthropology and a Criminal Psychology course.
You can find plenty online (that's what I did) and you'll thank yourself later when your novel comes off as more believable. No, don't get a degree. You just need a single course available through a continued learning program to get you going. Of course, you can specialize in both fields if you have the time/money/motivation.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
For those who don't know: I wrote a 13 book thriller/murder mystery series. I went into the Forensics side of things (vaguely) and found out a lot of interesting things about what the human body does when placed in the vicinity of various deadly objects.
In short: can your character jump into ice water and swim for a mile? Nope. Unless they're immune to the cold they will experience hyperthermia almost immediately. If the water's cold enough they may even have a heart attack upon hitting said water. There are certain factors in determining hyperthermia. I found a cool article: HERE. I used said article's information in Bloody X-Mas.
Can a character survive the blast of a 12 gauge shot gun at 10 feet? Nope. Unless the person shooting at them grazes them and even then it could cause your character's death. A 12 gauge shot gun can go through at least one cement wall and can blow a hole through a tree. The human body is all soft tissue and muscle. Our bones aren't even as hard as cement. If you get grazed with a 12 gauge, you are going down. This information appears in Hunter.
Can your officer character hit a target at 15 feet? Maybe but with a standard issue Glock: they're going to stun and not kill. The range on a police Glock is 10 feet and that's if your character is a good shot.
Can you shoot one-handed or while in a moving vehicle? Nope. Recoil is a bitch and you will have a sore wrist or be thrown back depending on the size of your gun. Can you fire a bigger gun from hip height? Kind of. The butt of the gun should be supported by your pelvis or your shoulder to prevent recoil because the bigger and more powerful the gun then the further back you're going to be thrown.
For those who think your character can survive a cut to the upper arm, stick a patch on it, and move around for days, here are some bleed times for various arteries. Bleed time refers to about how long it will take a person to die if they are struck in said place. It depends on the person's age, heart rate, etc. I found all these here when looking for the proper name of the brachial artery.
Carotid Artery (neck): 2 to 20 minutes.
Jugular Vein (neck): 2 to 20 minutes.
Subclavian artery: 2-20 minutes. This is an artery in the shoulder that runs down the front of a person's body and by the first rib. Unless someone does field surgery on you right away: you will not make it.
Subclavian vein: 15-60 minutes.
The Brachial Artery: 5-60 minutes. This is the one located in your upper arm and protected by the bicep. Depending where you cut along this artery changes the bleed time. Up closer to the arm pit and you're looking at the 5 minute range. Down further by the elbow and you might survive a bit longer.
Femoral Artery: 5-60 minutes. This is the big one located in your upper leg. You hit this puppy right and you're going down in seconds.
Axillary artery: 5-60 minutes. You can hit this via the armpit and front of the shoulder joint. It's hard to hit but an upwards slash or stab hit just right and the wound becomes extremely difficult to treat even with direct pressure. Yes: insta-death.
Inguinal artery: 5-60 minutes. It feeds the femoral artery in the leg and can be accessed by striking upwards between the legs and into the groin. Another extremely difficult wound to treat even with applying direct pressure. Think Blackhawn Down.
Aorta or any part of the heart: 1-2 minutes. These are instant death bleeders.
So, what's in a CSI Kit? It depends on your kit. Here's a good website to check out: https://www.shopevident.com/category/field-kits-crime-scene
How do you do an autopsy? Wiki-how gives you a nice step-by-step guide WITH pictures located here:
http://www.wikihow.com/Perform-an-Autopsy-on-a--Human-Being
How long will it take you to dig a grave? Well, that depends on a lot of factors. If you're doing this at night with a shovel, are average in athletics, and the ground isn't frozen from the winter, and the grave is shallow: about 3-5 hours, depending how shallow. You WILL NOT be able to dig a grave in an hour, with a shovel, in the middle of the woods, at night. It is not possible. I found a cool thread: http://boards.straightdope.com/sdmb/showthread.php?t=486094
I have reams of information about decay times dependant on environmental factors as well as information about the human body in general. I don't have a link for any of it, sorry. I would suggest for any author wanting to delve into crime fiction or murder mystery: take a basic Forensic Anthropology and a Criminal Psychology course.
You can find plenty online (that's what I did) and you'll thank yourself later when your novel comes off as more believable. No, don't get a degree. You just need a single course available through a continued learning program to get you going. Of course, you can specialize in both fields if you have the time/money/motivation.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Monday, August 31, 2015
Writing Tip #17: Self-Editing for Writers
Today we'll be talking about how you as a writer can prepare your piece of writing for an editor. This concept has been briefly looked at in Writing Tip #5: Your Voice and Writing Rules and Writing Tip #6: Words to be Wary of. Don't give me that look. Yes, you have to do a bit of pre-editing before slapping your editor with your manuscript. Why? Well, you want your work to be as solid as it can be before someone else mercilessly rips it apart.
No, you don't have to be the best at grammar. Word (or whatever grammar checker you're using) will catch most of your mistakes. Word will also catch your spelling mistakes. It'll even determine if you're using the wrong word sometimes. Don't trust Word.
Why? Because con is still a word even if you mean can. Bee is still a word if you mean be. There is a distinct difference between definitely and defiantly but they're both still words. There's also a huge distinction between six and sex. Word won't catch repetitiveness like constantly using "that", "just", "really", "thing", "in order", or any other word on the Words to be Wary of list. It doesn't even know the difference between weary and wary. It might not even notice you've left the "r" out in "your." And there are some instances when Word is wrong when it comes to grammar.
Yes your editor will catch all the above mistakes and yes it is what you pay them for. But you don't want your editor to get caught up in minor mistakes YOU could have caught when you want them focusing more on the larger picture. You want them to take your manuscript BEYOND your capabilities. You want them to tighten sentences and make suggestions with your voice or showing and telling. You don't want them focusing on minor mistakes. Pay them for being a second set of eyes, yes, but let them be a set of eyes used to their full potential.
So, how does one self-edit? Read over Words to be Wary of. Then go into your document and hit Ctrl+F or "Find." A window will appear. Now type in the word "that." When it finds the first "that", read over the sentence then REMOVE THE WORD or REPLACE IT. Repeat this process with the words:
Why out loud? Because your brain will force you to pay attention to every word. You won't automatically put in a word that might be missing and you're "hear" if something doesn't sound right.
Go back to your document and correct any changes. Go back to the top of your document and hit the "Show/Hide hidden characters." This button will show paragraph marks, spaces, tabs, and every other hidden character in your document. Why is this important? Sometimes at the end of a sentence you'll have hit a "soft" return instead of a hard return. So, instead of a new paragraph with a line in between, you'll have a new paragraph with NO space. You cannot visually see the difference until your book goes through formatting to be put on Kindle, Kobo, or any other website. The paragraph tag that should be at the end of every sentence looks like this:
You should also only have ONE space between each word, not two. The space between words is shown by a dot running along the middle of your word, kind of like a strike through. It looks like this:
If you have two dots then take one out. Besides your paragraph tags and space tags THERE SHOULD BE NO OTHER hidden characters. If there are: delete them and fix your document accordingly.
Go back to the top of your document again and read it from the beginning. This time make note of the story itself and anything you may have accidently changed like a character's name or eye color. Make sure a character wasn't holding an object and suddenly wasn't holding it (without putting it down) in the next sentence. Make sure a character isn't defying the laws of physics as in taking a seat on the edge of the desk when she was all ready sitting in a chair. Look for any awkward turns of phrases or sentences. Repair it all.
Now, leave it ALONE for a week or more. Go plan for your next novel, start a new one, edit something else, or read. Binge watch a show on Netflix, ANYTHING but DO NOT read your novel for at least a week. Once the week is over: start from the beginning of your document and read through it YET AGAIN.
How many read-throughs should you do? One for spelling. One for grammar. One for the words on the Words to be Wary of list. One for misused or improper words. One for sentence structure. One for hidden characters (as in the symbols not actual people in your novel). One for consistency. Once out loud. One more time after a period of time that you've left it alone.
That's nine times. I know it seems like a lot but your editor will be able to do a MUCH better job if you've read over your manuscript before sending it to them. Plus you won't have to pay them three or more times because they need to read over your novel nine times. Remember, the less they have to do, the more they can focus on your actual STORY.
Yes, it is a lot. But you can combine the read-through for spelling and grammar. If you're great you can also combine misused words, sentence structure, repetitive or unneeded words, spelling, and grammar. If you're excellent: you would have all read done those five while you're writing.
That's the key to self-editing: KNOWING the rules so well you can correct your mistakes AS YOU ARE WRITING. You will get to the point where the words on the Words to be Wary of list no longer exist in your writing vocabulary. You will get to the point where you'll know you've used the wrong word but you know to correct it before moving on to the next sentence.
What's this mean? You're working with your Inner Editor and NO it's not a bad thing. I know a lot of people say to turn off this inner critic when working on the first draft but why bother? If you're constantly shutting it off than you can't learn to get better and make a tighter, more concise first draft. I've got a whole blog post about the Inner Editor. I know the post is old but I still agree with everything there.
We've reached "The End" multiple times in our document. Now what? You find an editor to do the rest. How do you find an editor? I've touched on it briefly here. Read that whole post. Yes, it IS what you're getting yourself into.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
No, you don't have to be the best at grammar. Word (or whatever grammar checker you're using) will catch most of your mistakes. Word will also catch your spelling mistakes. It'll even determine if you're using the wrong word sometimes. Don't trust Word.
Why? Because con is still a word even if you mean can. Bee is still a word if you mean be. There is a distinct difference between definitely and defiantly but they're both still words. There's also a huge distinction between six and sex. Word won't catch repetitiveness like constantly using "that", "just", "really", "thing", "in order", or any other word on the Words to be Wary of list. It doesn't even know the difference between weary and wary. It might not even notice you've left the "r" out in "your." And there are some instances when Word is wrong when it comes to grammar.
Yes your editor will catch all the above mistakes and yes it is what you pay them for. But you don't want your editor to get caught up in minor mistakes YOU could have caught when you want them focusing more on the larger picture. You want them to take your manuscript BEYOND your capabilities. You want them to tighten sentences and make suggestions with your voice or showing and telling. You don't want them focusing on minor mistakes. Pay them for being a second set of eyes, yes, but let them be a set of eyes used to their full potential.
So, how does one self-edit? Read over Words to be Wary of. Then go into your document and hit Ctrl+F or "Find." A window will appear. Now type in the word "that." When it finds the first "that", read over the sentence then REMOVE THE WORD or REPLACE IT. Repeat this process with the words:
- very
- really
- just
- only
- in order
- thing (usually replaced with an object the "thing" is describing)
- quite
- get or got
- -ing words
- then
- suddenly
- smirk
- quirk
- like
- as
- feel
- think
- a lot
- kind of/sort of
Why out loud? Because your brain will force you to pay attention to every word. You won't automatically put in a word that might be missing and you're "hear" if something doesn't sound right.
Go back to your document and correct any changes. Go back to the top of your document and hit the "Show/Hide hidden characters." This button will show paragraph marks, spaces, tabs, and every other hidden character in your document. Why is this important? Sometimes at the end of a sentence you'll have hit a "soft" return instead of a hard return. So, instead of a new paragraph with a line in between, you'll have a new paragraph with NO space. You cannot visually see the difference until your book goes through formatting to be put on Kindle, Kobo, or any other website. The paragraph tag that should be at the end of every sentence looks like this:
You should also only have ONE space between each word, not two. The space between words is shown by a dot running along the middle of your word, kind of like a strike through. It looks like this:
If you have two dots then take one out. Besides your paragraph tags and space tags THERE SHOULD BE NO OTHER hidden characters. If there are: delete them and fix your document accordingly.
Go back to the top of your document again and read it from the beginning. This time make note of the story itself and anything you may have accidently changed like a character's name or eye color. Make sure a character wasn't holding an object and suddenly wasn't holding it (without putting it down) in the next sentence. Make sure a character isn't defying the laws of physics as in taking a seat on the edge of the desk when she was all ready sitting in a chair. Look for any awkward turns of phrases or sentences. Repair it all.
Now, leave it ALONE for a week or more. Go plan for your next novel, start a new one, edit something else, or read. Binge watch a show on Netflix, ANYTHING but DO NOT read your novel for at least a week. Once the week is over: start from the beginning of your document and read through it YET AGAIN.
How many read-throughs should you do? One for spelling. One for grammar. One for the words on the Words to be Wary of list. One for misused or improper words. One for sentence structure. One for hidden characters (as in the symbols not actual people in your novel). One for consistency. Once out loud. One more time after a period of time that you've left it alone.
That's nine times. I know it seems like a lot but your editor will be able to do a MUCH better job if you've read over your manuscript before sending it to them. Plus you won't have to pay them three or more times because they need to read over your novel nine times. Remember, the less they have to do, the more they can focus on your actual STORY.
Yes, it is a lot. But you can combine the read-through for spelling and grammar. If you're great you can also combine misused words, sentence structure, repetitive or unneeded words, spelling, and grammar. If you're excellent: you would have all read done those five while you're writing.
That's the key to self-editing: KNOWING the rules so well you can correct your mistakes AS YOU ARE WRITING. You will get to the point where the words on the Words to be Wary of list no longer exist in your writing vocabulary. You will get to the point where you'll know you've used the wrong word but you know to correct it before moving on to the next sentence.
What's this mean? You're working with your Inner Editor and NO it's not a bad thing. I know a lot of people say to turn off this inner critic when working on the first draft but why bother? If you're constantly shutting it off than you can't learn to get better and make a tighter, more concise first draft. I've got a whole blog post about the Inner Editor. I know the post is old but I still agree with everything there.
We've reached "The End" multiple times in our document. Now what? You find an editor to do the rest. How do you find an editor? I've touched on it briefly here. Read that whole post. Yes, it IS what you're getting yourself into.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Saturday, August 1, 2015
Writing Tip #16: Basic HTML For Writers
For those self-published authors who are doing it all I put together a handy-dandy cheat sheet for those thinking of formatting their own blogs, webpages, and whatever else without the help of a WYSIWYG editor. Let's start with the meaning of WYSIWYG: "What you see is what you get." You're going to be fine.
All HTML, CSS, etc is made up of TAGS. No, not the game you played as a kid. These are the end braces, brackets and other such do-hickies you've never had a use for. Depending on the coding language a tag can include: < > or ( ) or { } or [ ]. You'll mostly be using ( ) and <>. The first ( ) is mainly used in some internet forums. The second <> is used in actual HTML and websites.
The stuff that goes between those braces is the command for what you want your webpage to do. So <strong> means to make something BOLD. In word editing programs and WYSIWYG you hit Ctrl+b. If you're in Blogger or Wordpress and flip over to "HTML" instead of "Compose" then you'll see the tag in action.
Tags come in two parts: opening and closing. At the beginning of every bit of code you will see <command>stuff you want the command to effect </command> See the '/'? It tells the webpage to end the command. If you forget the closing tag, then whatever the command is will effect your entire webpage. Let's move onto some simple commands.
"Renna! I want to make something bold!"
Then you use <strong>Type in bold bits here </strong>
"Renna! I want to put something in italics!"
Then you use <em> Type in italized bits here </em>
"Renna! I want to underline something!"
<u>Underlined bits here</u>
"Renna! I want tostrike-through something!"
<strike>Strike-through bits here</strike>
Not bad, huh? Of course, these can all be found at the top of any WYSIWYG editing platform. So, what about links and pictures? Links are usually at the top of your WYSIWYG editor and a little window pops up where you put your link and yay! all good. But, what happens when your link breaks or you've accidently included a word you didn't want to or, or you need to READ the HTML?
This is the body of a link:
<a href="#">Link text here </a>
The a href tells the website where to go. The # is the actual link. So:
<a href="http://www.dairennav.blogspot.com">This blog's homepage </a>
YES, you need the quotes. YES you need the http:// No you don't necessarily need the 'www' YES you need to use an = sign. Anything missing from the tag and your link won't work. Fun fact: "a" stands for ANCHOR which is why in some WYSIWYG programs you'll see a little picture of an anchor instead of the word "link"
You want to look at an image tag? OKAY!
<img src="nameofimage.png/jpg/tiff" />
Confused? Don't worry, let's break it up. The picture tag is a self-closing tag and you can't see what it actually looks like until your preview your site. What's self-closing mean? You'll notice there's no ending tag and the / is INSIDE the >. That's self-closing.
img stands for image. src means source. You're basically telling the website "The image source is located between " "." Cool huh? Now, what's actually between our quotes? The name of your image and what format it's in: jpg, tiff, or png. Screw that up and your image won't display. You can host your images on alternate websites so your image tag might look like this:
<img src="http://www.website.com/imagename.png" /> In which you have your website name and the name of your image. Nifty huh?
"Wait, how do you control the size of the image and where it goes?"
I'm glad you asked. The image tag can get complicated:
<img src="nameofimage.png" height="430px" width="430px" vspace="5" hspace="5" border="2" />
What's all this mean? The height and width are the height and width of your image in pixels. vspace and hspace are the vertical and horizontal space between your image and whatever else is on the page. Border is the border around your images.
"Wait, how do I center it?"
Oh, now we're getting complicated. USUALLY you can add align="center" in your self-closing image tag and call it a day. Mm, not so much in MOST web applications as you'll find out when you start fiddling.
See, every website you look at is controlled by a little something called div tags which look like this: <div> stuff </div>. What's a div tag? It's a DIVision of the webpage. What's in between those div tags is a small section of your website and yes, you can have div tags inside of div tags. It's how people get a website with a colored background and a white block on top.
If you've added images in your Blogger/Wordpress account via the little image...picture at the top of your screen, then lots of options come up. If you flip over to HTML mode, you'll see a <div> tag in action. This is what's used to make your image do what you want it to do and as someone who has coded webpages by hand: divs can be a saving grace and annoying as Hell.
The question of "How do I center this image?" depends on everything else going on in your page. Yeah, I know, it's complicated.
You know what's even more fun? You can make your images clickable! If you flip on over to my "Store Tab" you'll see all my book covers lined up in neat little rows and columns with a "Buy Now" button under them with text between the two images. Cool huh? Wanna see the code?
<table>
<tr style="height: 550px;">
<td>
<center>
<a href="https://www.smashwords.com/books/view/81428"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3S-2v4j9K3Y_RirOfe6zMSd_bQSH7PJzDf1DZxzCEuTzD21pWI26Kt6X-g9lC3Xjwyw2ZDNLrGDa-tUeSj3DzkQ9K7l9bwecj6mY4z-rVll92aqn8lKU9ZzFAkBVEWGZgFW1Cc3wdcCM/s1600/CoverartTEXT.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3S-2v4j9K3Y_RirOfe6zMSd_bQSH7PJzDf1DZxzCEuTzD21pWI26Kt6X-g9lC3Xjwyw2ZDNLrGDa-tUeSj3DzkQ9K7l9bwecj6mY4z-rVll92aqn8lKU9ZzFAkBVEWGZgFW1Cc3wdcCM/s320/CoverartTEXT.jpg" /></a></a></center>
<div style="text-align: center;">
<i>Small Slice of the Undead</i> can ONLY BE BOUGHT in ebook form through Smashwords.
<a href="https://www.smashwords.com/books/view/81428"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCgKGb9SNjrk98k1GNiIGoovLGmmDpkvWMbzrvm03jH4g_ZIfSuLA9BayhpBCE56B9YNcBiGxodP74dgpoKMRNGGTF54_8WHJSBIrNDgItPzcf271SG2aPIi6QGk4O6jQ-sa_aLj3yHw/s320/buynow.jpg" /></a></div>
</td>
<td>
<center>
<a href="https://www.smashwords.com/books/view/93437"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjvrM3m2q_Q7fAWZv5tcuUJpcrbb8Iyn_UFF3uy8m_dseeZ-IqZq5PlyBwiar7IpSBBw1j5XUrew5IiZXsejDypH6XdAwUGgsvrM2KWWtUN6pFeYHChPS-QvyeUzeNcLu61XoXGDH4OE/s1600/Apocalyptic.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjvrM3m2q_Q7fAWZv5tcuUJpcrbb8Iyn_UFF3uy8m_dseeZ-IqZq5PlyBwiar7IpSBBw1j5XUrew5IiZXsejDypH6XdAwUGgsvrM2KWWtUN6pFeYHChPS-QvyeUzeNcLu61XoXGDH4OE/s320/Apocalyptic.jpg" /></a></a></center>
<div style="text-align: center;">
<i>Apocalyptic</i> can ONLY BE BOUGHT in ebook form through Smashwords.
<a href="https://www.smashwords.com/books/view/93437"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCgKGb9SNjrk98k1GNiIGoovLGmmDpkvWMbzrvm03jH4g_ZIfSuLA9BayhpBCE56B9YNcBiGxodP74dgpoKMRNGGTF54_8WHJSBIrNDgItPzcf271SG2aPIi6QGk4O6jQ-sa_aLj3yHw/s320/buynow.jpg" /></a></div>
</td>
</tr>
</table>
Confused? Let's go through it. <table> and </table> create a you guessed it, table on your webpages. Fun fact: webpages used to be made entirely from tables back in the 90s. To make a proper table you need <tr> </tr> which is your table ROW. Inside that you need <td> and </td> which is your table DATA or columns. So, I have two <td> </td> tags inside a <tr> </tr> tag which means I have two columns in one row. That's not so bad, huh?
Hey look! There's our div tag! It's controlling the text that appears between my cover image and the "Buy now" image. What's that <center> </center> tag? It's what makes the cover image centered in the middle of the column in my table. See how there's a link tag wrapped around the img tag? THAT makes the image clickable. See that <i> </i>? That is the depreciated form of <em> </em> that makes something italics. It's still in use in some WYSIWYG editing programs and on some websites.
What's the <tr style="height:550px;"> mean? That's telling the webpage to make my table ROWS 550px in height. Why did I use a table to make my store page instead of divs? It's way easier and keeps things neater, for me. It's personal preference really.
Now I know you're probably not going to use a lot of this information as most of you have a WYSIWYG editor for your blog and your website. Or you've hired someone. But, if it's the middle of the night and you've somehow gotten into HTML mode in your WYSIWYG, instead of panicking completely, you might be able to read the tags and figure out what to do.
If you really want to see some neat stuff, go to "View" and "Source" the next time you're on your favorite website. What will pop up in a new window is the coding behind that website. If you think the table was complex... ;)
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
All HTML, CSS, etc is made up of TAGS. No, not the game you played as a kid. These are the end braces, brackets and other such do-hickies you've never had a use for. Depending on the coding language a tag can include: < > or ( ) or { } or [ ]. You'll mostly be using ( ) and <>. The first ( ) is mainly used in some internet forums. The second <> is used in actual HTML and websites.
The stuff that goes between those braces is the command for what you want your webpage to do. So <strong> means to make something BOLD. In word editing programs and WYSIWYG you hit Ctrl+b. If you're in Blogger or Wordpress and flip over to "HTML" instead of "Compose" then you'll see the tag in action.
Tags come in two parts: opening and closing. At the beginning of every bit of code you will see <command>stuff you want the command to effect </command> See the '/'? It tells the webpage to end the command. If you forget the closing tag, then whatever the command is will effect your entire webpage. Let's move onto some simple commands.
"Renna! I want to make something bold!"
Then you use <strong>Type in bold bits here </strong>
"Renna! I want to put something in italics!"
Then you use <em> Type in italized bits here </em>
"Renna! I want to underline something!"
<u>Underlined bits here</u>
"Renna! I want to
<strike>Strike-through bits here</strike>
Not bad, huh? Of course, these can all be found at the top of any WYSIWYG editing platform. So, what about links and pictures? Links are usually at the top of your WYSIWYG editor and a little window pops up where you put your link and yay! all good. But, what happens when your link breaks or you've accidently included a word you didn't want to or, or you need to READ the HTML?
This is the body of a link:
<a href="#">Link text here </a>
The a href tells the website where to go. The # is the actual link. So:
<a href="http://www.dairennav.blogspot.com">This blog's homepage </a>
YES, you need the quotes. YES you need the http:// No you don't necessarily need the 'www' YES you need to use an = sign. Anything missing from the tag and your link won't work. Fun fact: "a" stands for ANCHOR which is why in some WYSIWYG programs you'll see a little picture of an anchor instead of the word "link"
You want to look at an image tag? OKAY!
<img src="nameofimage.png/jpg/tiff" />
Confused? Don't worry, let's break it up. The picture tag is a self-closing tag and you can't see what it actually looks like until your preview your site. What's self-closing mean? You'll notice there's no ending tag and the / is INSIDE the >. That's self-closing.
img stands for image. src means source. You're basically telling the website "The image source is located between " "." Cool huh? Now, what's actually between our quotes? The name of your image and what format it's in: jpg, tiff, or png. Screw that up and your image won't display. You can host your images on alternate websites so your image tag might look like this:
<img src="http://www.website.com/imagename.png" /> In which you have your website name and the name of your image. Nifty huh?
"Wait, how do you control the size of the image and where it goes?"
I'm glad you asked. The image tag can get complicated:
<img src="nameofimage.png" height="430px" width="430px" vspace="5" hspace="5" border="2" />
What's all this mean? The height and width are the height and width of your image in pixels. vspace and hspace are the vertical and horizontal space between your image and whatever else is on the page. Border is the border around your images.
"Wait, how do I center it?"
Oh, now we're getting complicated. USUALLY you can add align="center" in your self-closing image tag and call it a day. Mm, not so much in MOST web applications as you'll find out when you start fiddling.
See, every website you look at is controlled by a little something called div tags which look like this: <div> stuff </div>. What's a div tag? It's a DIVision of the webpage. What's in between those div tags is a small section of your website and yes, you can have div tags inside of div tags. It's how people get a website with a colored background and a white block on top.
If you've added images in your Blogger/Wordpress account via the little image...picture at the top of your screen, then lots of options come up. If you flip over to HTML mode, you'll see a <div> tag in action. This is what's used to make your image do what you want it to do and as someone who has coded webpages by hand: divs can be a saving grace and annoying as Hell.
The question of "How do I center this image?" depends on everything else going on in your page. Yeah, I know, it's complicated.
You know what's even more fun? You can make your images clickable! If you flip on over to my "Store Tab" you'll see all my book covers lined up in neat little rows and columns with a "Buy Now" button under them with text between the two images. Cool huh? Wanna see the code?
<table>
<tr style="height: 550px;">
<td>
<center>
<a href="https://www.smashwords.com/books/view/81428"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3S-2v4j9K3Y_RirOfe6zMSd_bQSH7PJzDf1DZxzCEuTzD21pWI26Kt6X-g9lC3Xjwyw2ZDNLrGDa-tUeSj3DzkQ9K7l9bwecj6mY4z-rVll92aqn8lKU9ZzFAkBVEWGZgFW1Cc3wdcCM/s1600/CoverartTEXT.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3S-2v4j9K3Y_RirOfe6zMSd_bQSH7PJzDf1DZxzCEuTzD21pWI26Kt6X-g9lC3Xjwyw2ZDNLrGDa-tUeSj3DzkQ9K7l9bwecj6mY4z-rVll92aqn8lKU9ZzFAkBVEWGZgFW1Cc3wdcCM/s320/CoverartTEXT.jpg" /></a></a></center>
<div style="text-align: center;">
<i>Small Slice of the Undead</i> can ONLY BE BOUGHT in ebook form through Smashwords.
<a href="https://www.smashwords.com/books/view/81428"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCgKGb9SNjrk98k1GNiIGoovLGmmDpkvWMbzrvm03jH4g_ZIfSuLA9BayhpBCE56B9YNcBiGxodP74dgpoKMRNGGTF54_8WHJSBIrNDgItPzcf271SG2aPIi6QGk4O6jQ-sa_aLj3yHw/s320/buynow.jpg" /></a></div>
</td>
<td>
<center>
<a href="https://www.smashwords.com/books/view/93437"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjvrM3m2q_Q7fAWZv5tcuUJpcrbb8Iyn_UFF3uy8m_dseeZ-IqZq5PlyBwiar7IpSBBw1j5XUrew5IiZXsejDypH6XdAwUGgsvrM2KWWtUN6pFeYHChPS-QvyeUzeNcLu61XoXGDH4OE/s1600/Apocalyptic.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzjvrM3m2q_Q7fAWZv5tcuUJpcrbb8Iyn_UFF3uy8m_dseeZ-IqZq5PlyBwiar7IpSBBw1j5XUrew5IiZXsejDypH6XdAwUGgsvrM2KWWtUN6pFeYHChPS-QvyeUzeNcLu61XoXGDH4OE/s320/Apocalyptic.jpg" /></a></a></center>
<div style="text-align: center;">
<i>Apocalyptic</i> can ONLY BE BOUGHT in ebook form through Smashwords.
<a href="https://www.smashwords.com/books/view/93437"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlCgKGb9SNjrk98k1GNiIGoovLGmmDpkvWMbzrvm03jH4g_ZIfSuLA9BayhpBCE56B9YNcBiGxodP74dgpoKMRNGGTF54_8WHJSBIrNDgItPzcf271SG2aPIi6QGk4O6jQ-sa_aLj3yHw/s320/buynow.jpg" /></a></div>
</td>
</tr>
</table>
Confused? Let's go through it. <table> and </table> create a you guessed it, table on your webpages. Fun fact: webpages used to be made entirely from tables back in the 90s. To make a proper table you need <tr> </tr> which is your table ROW. Inside that you need <td> and </td> which is your table DATA or columns. So, I have two <td> </td> tags inside a <tr> </tr> tag which means I have two columns in one row. That's not so bad, huh?
Hey look! There's our div tag! It's controlling the text that appears between my cover image and the "Buy now" image. What's that <center> </center> tag? It's what makes the cover image centered in the middle of the column in my table. See how there's a link tag wrapped around the img tag? THAT makes the image clickable. See that <i> </i>? That is the depreciated form of <em> </em> that makes something italics. It's still in use in some WYSIWYG editing programs and on some websites.
What's the <tr style="height:550px;"> mean? That's telling the webpage to make my table ROWS 550px in height. Why did I use a table to make my store page instead of divs? It's way easier and keeps things neater, for me. It's personal preference really.
Now I know you're probably not going to use a lot of this information as most of you have a WYSIWYG editor for your blog and your website. Or you've hired someone. But, if it's the middle of the night and you've somehow gotten into HTML mode in your WYSIWYG, instead of panicking completely, you might be able to read the tags and figure out what to do.
If you really want to see some neat stuff, go to "View" and "Source" the next time you're on your favorite website. What will pop up in a new window is the coding behind that website. If you think the table was complex... ;)
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Sunday, July 12, 2015
Writing Tip #15: Vanity Presses
There will come a time when you've finished drafting your novel and you're ready to put it out there in the world. You have two choices when it comes to publishing: self-publishing and traditional publishing. There's a post in the "Writing Tips" tab called Self-Publishing is Hard Work which I suggest you check out for more information. You can do it now or later, either way is fine.
If you're still with me: I mention in Self-Publishing is Hard Work something called "Vanity Presses." More specifically, I say to avoid vanity presses. For those that don't know: a vanity press is a publication company that says they'll publish your book for you. Sounds good, right? It's not. When something sounds too good to be true then it usually is.
Before anyone asks, YES, I did publish through a vanity press. Tale of the Twins Book 1 was originally published by AuthorHouse in March 2010. So yes, I do know what I'm talking about. Below you will see a list because lists keep concepts neat and tidy. There's a lot to go through.
1) Money
When someone asks YOU to pay for publishing your book: RED FLAG. Money should only be dealt out on cover designs and editing because, hey, they have to be paid too. Now, a vanity press will charge you exuberant amounts of money to do a lot of what you can do on your own. You will be spending anywhere from two to five times the amount of money publishing your book if you go with a vanity press.
Yes, they will give you an ISBN. But you can get it for free.
Yes, they will give you promotional material. But it won't come with how to use said promotional material and said material is normally bookmarks, postcards, and business cards centered around this ONE book. This is fine if all you're ever looking to do is publish ONE book and not make a brand.
Yes, they will give you hard and soft cover copies of your book. Yes, it will be more expensive then getting them printed somewhere else. And yes, there has been cases when they HAVE NOT delivered on printed books.
Yes, they will do other promotional stuff...for a price.
Oh, and those prices you see on their websites? Mm, yeah, they don't include the cost of editing.
And the stuff they might list under marketing? Mmm, yeah, you can totally do it on your own for free.
2) Marketing
Despite what any vanity presses' website says: They will not market your book. Oh, they'll put out some news releases and put you on Amazon, Barnes & Noble, and a few other sites. But that's all they'll do. And sure, they'll talk to Kirkus for you to get a review but only if you're willing to shell out $5000 for the whole package. Kirkus charges $425. Let's say editing is about $2000, cover is around $500...you're all ready saving by NOT going through a vanity press.
Sorry, we're on marketing. Oh, you might get a social media set up guide. So, they'll give you a list of what social media sites to sign up on and might even sign you up themselves. That is not marketing my friend. They will give you an account and you have to take care of it.
If you really shell out some cash you can do a couple of video interviews and get some stand-alone ads on Google...both of which won't work if no one knows who you are anyway. Interviews and videos only work if you can show people where those interviews and videos are, that is PROMOTE YOURSELF.
Don't buy into anything they say about marketing. You will be on your own and out a couple thousand dollars.
3) Your "Team"
A lot of these vanity presses talk about your personal "team" of people working on your novel. You get your own book consultant, cover design team, editor and EVERYTHING! In the four years I was with AuthorHouse I went through about ten book consultants, NOT through my own doing. They just got changed and I never saw the guy or girl before again. My cover design team got switched on me mid-cover design. I'm pretty sure my editor no longer works there. Personal team? Nope.
You will continually get people who know nothing about your book trying to sell you more hard copies of your book so they can get paid and you can sit there trying to figure out what to do. You are not a special member of their Publication House. You are a number and nothing more.
4) MORE Money
Every so often I'd get these calls from AuthorHouse telling me I was a special little snowflake that had been selected to participate in an event to promote my book. I fell into the trap and flew all the way to Los Angels for a Book-To-Screen event.
You are NOT a special little snowflake. You're number 54 of the thousands of authors in their "House" they've tried calling and who has said "yes" to doing said event. You will be shelling out MORE money to participate in the event then you will have to pay for your way TO the event, as well as your lodging AT the event.
My trip to Los Angeles wasn't a total bust (I did get a replica Saber Tooth Cat fang and to see a Tim Burton exhibit) but it did cost about $3000. What did I get out of it? The knowledge that some people thought my book was "too similar to Twilight", a replica Saber Tooth Cat fang, to see the Tim Burton exhibit, to say I've been to LA, a cool cab driver story, and to meet 149 other authors. Was it worth the $3000? Nope. Would I do it again? Nope.
Later that year I got a call about shelling out another $3000 to go to a book signing event in some park in Toronto with another 150 authors. Um, yes half a million people would be going through said park. No, just because I would be there wouldn't mean people would take copies of my free book. Yes, free. I wouldn't be making any money while there. I would just be gaining a readership. Oh, did I mention I would have had to BUY copies of my own book before going? No? Well yes, I would have had to buy copies of my book to hand out for free. Think about that for a minute. Yeah.
5) Your Rights
The cool thing about being self-published is you get to keep your rights. The not-so-cool thing about going traditional is you don't keep your rights. Vanity presses SAY you can keep your rights but if you decided to stop publishing through them you don't get to use anything with their name on it. What does that mean? Oh, the cover, the inside EDITED version of your book, the bookmarks, postcards, business cards, posters, and any other "promotional" material is null and void.
Why yes, that does mean you shelled out thousands of dollars to give up your rights and be back where you started before meeting said vanity press if you break contract. If you want to be able to use the cover, INSIDE EDITED VERSION OF YOUR BOOK, or anything else you have to pay a fee. Yes, that's right: you have to pay a fee. I suppose it's only fair. I mean they did do all this work setting you up with people and what not. But after spending $10,000 with them that extra fee felt like a kick to the groin.
Worse yet, if you want to self-publish on Amazon, you really can't. Why? Because THEY have all ready made a page for your other book and it would look stupid to have two separate accounts. That's not good for branding.
Did I mention you can't control your pricing? Well you can. But you can't offer the book in any kind of promotional deal with other books you might self-publish because you don't have access to the vanity press' book through Amazon. You can't offer that book for free because then you're throwing money out the window and THEY won't let you. And if you want to make any REAL money through them you've got to charge at least a dollar or more than other authors to make the same amount as them.
Do they tell you when your book is coming off their shelves? Nope. Do they deliver the files you paid for in a prompt and efficient manner before taking your book off their shelves? Nope. As of this writing (January 23), Tale of the Twins is no longer available on the AuthorHouse website but I still haven't gotten any of my files even though I paid the fee on January 9th. Yeah. Think about that for a minute.
So, an update to the file thing. I finally had to call to see where the Hell my files were. When did I call? March 23. March 23 after paying for my files on January 9. What did I get? A PDF of my novel. No cover. And no, not a Word doc which is easily editable for any excess pages, a PDF which when you convert over to a Word doc. you have to reformat everything. I'm currently in the process of reformatting line-by-stinking-line because there were excess pages, wonky paragraph tags, and a bunch of other crap I can't get rid of unless I literally bring a line into the paragraph before then do a hard return. Yeah. What did I pay $150 for? More work and needing a new cover.
In conclusion:
DO NOT USE A VANITY PRESS.
I will admit there have been some authors who have had success with vanity presses but they are few and far between. In order to be a success with a vanity press you have to have disposable income and you have to be able to promote yourself...which are the EXACT same things you need for self-publishing. Except with self-publishing you get to keep your rights. You'll also get to stick with one cover designer and editor who you'll grow to like and keep doing business with. A vanity press can't give you a permanent team. You can give yourself one.
I know it might not seem like it at first glance but it's MUCH, MUCH cheaper and better for you to self-publish without a vanity press. If you're going to self-publish you want as much control as possible so that your book will come out perfect. A vanity press can't offer you that.
And a funny note: There is a company out there who helps you to self-publish. They look like a vanity press but there are major differences. To be honest, I haven't checked them out as much as I normally do but they do offer a discount if you're trying to re-publish your book after being with a vanity press. Think about THAT for a minute. Yeah.
A note for those thinking I'm being bitter: AuthorSolutions (AuthorHouse and iUniverse for those curious) had a class action law suit filed against them. There's a section in Self-Publishing is Hard that talks about research. ALWAYS DO YOUR RESEARCH. Don't fall into the same trap I did.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
If you're still with me: I mention in Self-Publishing is Hard Work something called "Vanity Presses." More specifically, I say to avoid vanity presses. For those that don't know: a vanity press is a publication company that says they'll publish your book for you. Sounds good, right? It's not. When something sounds too good to be true then it usually is.
Before anyone asks, YES, I did publish through a vanity press. Tale of the Twins Book 1 was originally published by AuthorHouse in March 2010. So yes, I do know what I'm talking about. Below you will see a list because lists keep concepts neat and tidy. There's a lot to go through.
1) Money
When someone asks YOU to pay for publishing your book: RED FLAG. Money should only be dealt out on cover designs and editing because, hey, they have to be paid too. Now, a vanity press will charge you exuberant amounts of money to do a lot of what you can do on your own. You will be spending anywhere from two to five times the amount of money publishing your book if you go with a vanity press.
Yes, they will give you an ISBN. But you can get it for free.
Yes, they will give you promotional material. But it won't come with how to use said promotional material and said material is normally bookmarks, postcards, and business cards centered around this ONE book. This is fine if all you're ever looking to do is publish ONE book and not make a brand.
Yes, they will give you hard and soft cover copies of your book. Yes, it will be more expensive then getting them printed somewhere else. And yes, there has been cases when they HAVE NOT delivered on printed books.
Yes, they will do other promotional stuff...for a price.
Oh, and those prices you see on their websites? Mm, yeah, they don't include the cost of editing.
And the stuff they might list under marketing? Mmm, yeah, you can totally do it on your own for free.
2) Marketing
Despite what any vanity presses' website says: They will not market your book. Oh, they'll put out some news releases and put you on Amazon, Barnes & Noble, and a few other sites. But that's all they'll do. And sure, they'll talk to Kirkus for you to get a review but only if you're willing to shell out $5000 for the whole package. Kirkus charges $425. Let's say editing is about $2000, cover is around $500...you're all ready saving by NOT going through a vanity press.
Sorry, we're on marketing. Oh, you might get a social media set up guide. So, they'll give you a list of what social media sites to sign up on and might even sign you up themselves. That is not marketing my friend. They will give you an account and you have to take care of it.
If you really shell out some cash you can do a couple of video interviews and get some stand-alone ads on Google...both of which won't work if no one knows who you are anyway. Interviews and videos only work if you can show people where those interviews and videos are, that is PROMOTE YOURSELF.
Don't buy into anything they say about marketing. You will be on your own and out a couple thousand dollars.
3) Your "Team"
A lot of these vanity presses talk about your personal "team" of people working on your novel. You get your own book consultant, cover design team, editor and EVERYTHING! In the four years I was with AuthorHouse I went through about ten book consultants, NOT through my own doing. They just got changed and I never saw the guy or girl before again. My cover design team got switched on me mid-cover design. I'm pretty sure my editor no longer works there. Personal team? Nope.
You will continually get people who know nothing about your book trying to sell you more hard copies of your book so they can get paid and you can sit there trying to figure out what to do. You are not a special member of their Publication House. You are a number and nothing more.
4) MORE Money
Every so often I'd get these calls from AuthorHouse telling me I was a special little snowflake that had been selected to participate in an event to promote my book. I fell into the trap and flew all the way to Los Angels for a Book-To-Screen event.
You are NOT a special little snowflake. You're number 54 of the thousands of authors in their "House" they've tried calling and who has said "yes" to doing said event. You will be shelling out MORE money to participate in the event then you will have to pay for your way TO the event, as well as your lodging AT the event.
My trip to Los Angeles wasn't a total bust (I did get a replica Saber Tooth Cat fang and to see a Tim Burton exhibit) but it did cost about $3000. What did I get out of it? The knowledge that some people thought my book was "too similar to Twilight", a replica Saber Tooth Cat fang, to see the Tim Burton exhibit, to say I've been to LA, a cool cab driver story, and to meet 149 other authors. Was it worth the $3000? Nope. Would I do it again? Nope.
Later that year I got a call about shelling out another $3000 to go to a book signing event in some park in Toronto with another 150 authors. Um, yes half a million people would be going through said park. No, just because I would be there wouldn't mean people would take copies of my free book. Yes, free. I wouldn't be making any money while there. I would just be gaining a readership. Oh, did I mention I would have had to BUY copies of my own book before going? No? Well yes, I would have had to buy copies of my book to hand out for free. Think about that for a minute. Yeah.
5) Your Rights
The cool thing about being self-published is you get to keep your rights. The not-so-cool thing about going traditional is you don't keep your rights. Vanity presses SAY you can keep your rights but if you decided to stop publishing through them you don't get to use anything with their name on it. What does that mean? Oh, the cover, the inside EDITED version of your book, the bookmarks, postcards, business cards, posters, and any other "promotional" material is null and void.
Why yes, that does mean you shelled out thousands of dollars to give up your rights and be back where you started before meeting said vanity press if you break contract. If you want to be able to use the cover, INSIDE EDITED VERSION OF YOUR BOOK, or anything else you have to pay a fee. Yes, that's right: you have to pay a fee. I suppose it's only fair. I mean they did do all this work setting you up with people and what not. But after spending $10,000 with them that extra fee felt like a kick to the groin.
Worse yet, if you want to self-publish on Amazon, you really can't. Why? Because THEY have all ready made a page for your other book and it would look stupid to have two separate accounts. That's not good for branding.
Did I mention you can't control your pricing? Well you can. But you can't offer the book in any kind of promotional deal with other books you might self-publish because you don't have access to the vanity press' book through Amazon. You can't offer that book for free because then you're throwing money out the window and THEY won't let you. And if you want to make any REAL money through them you've got to charge at least a dollar or more than other authors to make the same amount as them.
Do they tell you when your book is coming off their shelves? Nope. Do they deliver the files you paid for in a prompt and efficient manner before taking your book off their shelves? Nope. As of this writing (January 23), Tale of the Twins is no longer available on the AuthorHouse website but I still haven't gotten any of my files even though I paid the fee on January 9th. Yeah. Think about that for a minute.
So, an update to the file thing. I finally had to call to see where the Hell my files were. When did I call? March 23. March 23 after paying for my files on January 9. What did I get? A PDF of my novel. No cover. And no, not a Word doc which is easily editable for any excess pages, a PDF which when you convert over to a Word doc. you have to reformat everything. I'm currently in the process of reformatting line-by-stinking-line because there were excess pages, wonky paragraph tags, and a bunch of other crap I can't get rid of unless I literally bring a line into the paragraph before then do a hard return. Yeah. What did I pay $150 for? More work and needing a new cover.
In conclusion:
DO NOT USE A VANITY PRESS.
I will admit there have been some authors who have had success with vanity presses but they are few and far between. In order to be a success with a vanity press you have to have disposable income and you have to be able to promote yourself...which are the EXACT same things you need for self-publishing. Except with self-publishing you get to keep your rights. You'll also get to stick with one cover designer and editor who you'll grow to like and keep doing business with. A vanity press can't give you a permanent team. You can give yourself one.
I know it might not seem like it at first glance but it's MUCH, MUCH cheaper and better for you to self-publish without a vanity press. If you're going to self-publish you want as much control as possible so that your book will come out perfect. A vanity press can't offer you that.
And a funny note: There is a company out there who helps you to self-publish. They look like a vanity press but there are major differences. To be honest, I haven't checked them out as much as I normally do but they do offer a discount if you're trying to re-publish your book after being with a vanity press. Think about THAT for a minute. Yeah.
A note for those thinking I'm being bitter: AuthorSolutions (AuthorHouse and iUniverse for those curious) had a class action law suit filed against them. There's a section in Self-Publishing is Hard that talks about research. ALWAYS DO YOUR RESEARCH. Don't fall into the same trap I did.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Tuesday, June 30, 2015
2015 Novel Series #3: Death's Feet
So this is one of those novels I'd started, scrapped, re-started, scrapped and re-started then finally finished. The first two incantations didn't have much of a plan. It was about these six characters who worked for Death and had to make sure the souls of the dead moved on. Yes, very much like Dead Like Me. There was a main conflict but no real purpose. The bad guy wanted to stop Death for no apparent reason.
I let it sit. I re-read both tries. Then I decided to put all my focus onto one character, one of Death's Grim Reapers and everything made sense. Instead of helping souls move on, the Grim Reapers now collect the souls and bring them to death in reliquaries. There are different levels of Grim Reapers: normal reapers, the Leaders of Crews (generally five), and the Grave Robber who is a special sort of reaper that can physically see a soul if it hasn't been captured in a reliquary.
The story focuses on Rosalynne, a Grave Robber who thinks she's found her soul-mate again after 200 years. Then all Hell breaks loose and someone jumps her while she's gleaning missed souls from the cemetery. This attacker takes her reliquaries and we find out someone's trying to thwart Death. Why? That's for Death Herself to figure out.
Death Herself, Amorita, plays a more active role in this incantation than she did in the prior two. She's directly involved with the group as she had been but she's more active when it comes to actual plot. In the others, she was just there as kind of a like a guide character. In this one, she's a plot point.
This is also the novel I used for Camp NaNoWriMo, April edition. It wasn't a good Camp because again, I was in a cabin where the other people weren't active. Most of them put up a goal and then bailed. One other person tried to regularly talk but everyone else kind of took off. It's disappointing which is why you didn't see my weekly updates about Camp this year. Onwards with the novel summary.
Genre: Urban fantasy? Supernatural? I've no idea.
Word Count: 69,908
Prompt: The show Dead Like Me
Main Characters: Rosalynne, Amorita (Death Herself), and the Baddie.
Minor Characters: Simon, William, Max, Tim, Steve, Barb, Ruby, and the other Grim Reapers. Yes, ordered in level of importance. Ha.
Summation: Rosalynne never thought she'd fall in love again until she met William. The problem? Rosalynne's been dead for 200 years and works as a Grim Reaper, an assistant under Death Herself. Can William be Rosalynne's reincarnated lost lover or is something or someone trying to thwart Death?
High Points: Amorita. She was such a fun character to write. Most specifically? The scene where she goes to Heaven to talk to God and Lucifer about Purging the world so she can kill off all the people taking the reliquaries in one go.
Low Points: Ending the novel. Seriously, when you've had something in your head for so long stewing and it's finally done it's like you're missing a part of yourself now or something. I'll miss these characters.
The World: Ours but with an incarnation of Death walking around as well as people who work for her who can't die.
Memorable Lines:
Trust Simon to give her an early job. The job forced her to push her legs to their limits in racing half way across the city to get to the location on time. She shifted the handles on her bike, pulling up slightly to jump the curb and veered around the idiots on the sidewalk. Sure, she was supposed to be in the bike lane running along the side of the road but she didn't trust the motorists trying to get to work before 9AM.
Rosalynne swung her bike around an older woman walking a yappy dog and got some small sense of satisfaction when an idiot trying to take a selfie had to step to one side or be run down by her bike. She heard a curse but didn't bother to look over her shoulder. One hand did come up to give the thwarted selfie-taker a one fingered salute.
The music in her ears changed to a heavier beat and Rosalynne grinned. The pounding bass did nothing for her headache but it would help her concentrate on getting to the job before her real job. Oh the joy of working overlapping shifts of sorts. Simon couldn't even give her later work if he wanted. He gave her what fit into her schedule as given to him by Amorita.
Amorita, the mysterious woman Rosalynne, Simon, or anyone else on the team didn't want to meet. Amorita could keep to her shadows and be nothing but a name to Rosalynne for as long as her second life continued. Amoirta, Lady Death, Keeper of Souls, Grim Reaper, whatever name a person could come up with for her could stay secluded in whatever place she called home in this city. Rosalynne wished Lady Death had elected to live anywhere else. Wished wouldn't do her any good so she kept pedaling. Maybe she'd get lucky and wouldn't have to follow an ambulance to a morgue.
"You're not a good Grim Reaper," Robert told her.
She chuckled at him and she felt him watching her. She shrugged.
"You can tell that to Lady Death when you meet her but she'll just laugh," Rosalynne said.
Robert gasped and Rosalynne watched him consider her words.
"You're not Death?" Robert enquired.
Rosalynne shook her head. Robert blinked and waited.
"I'm one of her Grim Reapers. My job is to gather lost souls and bring them to her so she can bring them into the afterlife. She's the one who can tell you what happened to you and your family, not me. I do her legwork," Rosalynne said.
"So, someone stole your Grave Robber's reliquaries,"
Lady Death's voice was smooth but unnerving. It made Rosalynne want to run screaming from the room but she was paralyzed. It took Rosalynne a moment to realize Lady Death had not posed a question. She had made a statement.
"Yes," Simon agreed.
His voice was light and Rosalynne could see the sweat beading across his forehead. Simon didn't know what happened when reliquaries were taken. Rosalynne hoped he might have an idea. Apparently Lady Death could be the one to know.
"Twelve you said,"
A second statement, like she wanted to confirm whatever Simon had told her on the phone. Simon nodded this time. Lady Death took a long drag off her cigarette and exhaled five smoke rings. She was the image of calm. Rosalynne knew somewhere inside, maybe deep inside, Lady Death was not as relaxed as she seemed.
"Rosalynne," Lady Death said.
If Rosalynne had been standing she would have fallen over. She did have to tighten her grip on Barb's hand but Barb squeezed back as hard.
"You didn't see him or sense him,"
Again, not a question but a verification of fact. Rosalynne nodded. Lady Death shifted her head to look at her and Rosalynne lowered her eyes as to not meet Lady Death's gaze. She knew Lady Death would take no offense.
"Odd the Grave Robber couldn't sense him," Lady Death went on. "Not that you're the most powerful of the Grave Robbers, a child still in terms of it, but even so you should have sensed him alone in the cemetery."
...
"Even a normal Grim Reaper should have sensed him. Odd," Lady Death said.
Instead of putting out her cigarette in the ash tray, she flicked it onto the carpet. Simon winced but said nothing. Lady Death didn't even squish the cigarette to put it out. It didn't burn through the carpet and no smoke coiled from the discarded cigarette. It was as if the life had left it the moment it left her fingers. Rosalynne did not want to linger on the thought.
Amorita let out a long breath and stepped forward. To anyone watching it would look as if her body liquefied then flowed through the bars to solidify on the other side. To her the movement felt like taking a step as normal with no barrier in between. She went where she wished when she wished and nothing could impede her.
"Look out!"
Something hit her from the side and Amorita felt the sensation of flying. She landed, feeling roughness biting at her flesh as her body rolled. She heard yelling and screaming, squealing, honking, but none of it mattered. The attacker was gaining distance. Amorita blinked at the sight of blue sky above her head and shifted.
Nothing hurt. Nothing ever hurt so she sat up. People were near her, telling her to stay still and for a moment she didn't understand why. Then she looked down at herself. There was a bone peeking out of one leg and blood flowing from the wound. Her left arm was mangled as well and there were patches of skin that had been torn away. She supposed people would consider her lucky to come away so unscathed. This was an inconvenience. (Says the one who just got hit by a car...lol)
...
Stupid cars and their ability to sneak up on her. Some inventions weren't worth it. (snickers)
"Powers above and below can't end her because they end their method of getting souls. From what she tells us, she came first, so I don't think the Rules apply to her. If she wants a tsunami to hit Japan again because she thinks it'll be fun then she'll do it." (She being Death of course)
"I've been fighting this group for centuries now and every time I thought I had them finished they came back. This time they only waited four years. No, I'm done being gentle. I will purge the world: hurricanes, tornadoes, tsunamis, earthquakes, and war. I suspect when it's all said and done over four billion will be dead," Lady Death said.
...
"But that's, you can't,"
"Who's going to stop me? God? Lucifer? You? No. The purging stats in one week..."
"What's this all about, Death?" God asked.
"The faction is back," Amorita said.
"Oh, well, don't you normally handle it without meeting us?" God questioned.
...
"Normally but this time I'm finishing the group," Amorita said.
"Oh, good. Well, have at it then," God said and began to stand.
"You sure you want to tell Death to 'have at it' without hearing her plan?" Lucifer asked.
Damn him. She had almost gotten out of this without having to tell God what she planned to do. God scowled, met Lucifer's eyes then looked to her. He sat back down. Lucifer chuckled, a little smirk coming to his face and Amorita shrugged.
"I'm Purging the earth in six days," Amorita said.
...
"How many humans do you plan to Purge?" God asked.
"Four billion," Amorita replied.
She hadn't skipped a beat, replying as if she was mentioning the weather. It was her talent, really. The angel dropped his clipboard. Lucifer lost the grip he had on his cigarillo and it dropped onto the table then rolled to the edge, hovering between falling for a few moments before becoming stead. God stared at her with wide eyes and a dropped jaw.
"Four billion?" God questioned.
He sputtered...
"Oh, you're coming with me," Lady Death said.
"Why?" Rosalynne managed.
Lady Death smirked.
"Back-up,"
(Amorita and the Baddie fighting in her apartment. She's been slamming him against walls and making a general ruckus)
"This is your neighbour in four. Do you mind keeping it down? I'm trying to put my kid down for a nap."
"Sorry, deciding the fate of the universe in here," Amorita said.
"I can't believe you just dropped that like it was nothing," the man said, pointing at her discarded cigarette.
"And I can't believe you dared to stop me," Amorita said.
"Eternity's a long time. At least I know how to amuse myself."
I let it sit. I re-read both tries. Then I decided to put all my focus onto one character, one of Death's Grim Reapers and everything made sense. Instead of helping souls move on, the Grim Reapers now collect the souls and bring them to death in reliquaries. There are different levels of Grim Reapers: normal reapers, the Leaders of Crews (generally five), and the Grave Robber who is a special sort of reaper that can physically see a soul if it hasn't been captured in a reliquary.
The story focuses on Rosalynne, a Grave Robber who thinks she's found her soul-mate again after 200 years. Then all Hell breaks loose and someone jumps her while she's gleaning missed souls from the cemetery. This attacker takes her reliquaries and we find out someone's trying to thwart Death. Why? That's for Death Herself to figure out.
Death Herself, Amorita, plays a more active role in this incantation than she did in the prior two. She's directly involved with the group as she had been but she's more active when it comes to actual plot. In the others, she was just there as kind of a like a guide character. In this one, she's a plot point.
This is also the novel I used for Camp NaNoWriMo, April edition. It wasn't a good Camp because again, I was in a cabin where the other people weren't active. Most of them put up a goal and then bailed. One other person tried to regularly talk but everyone else kind of took off. It's disappointing which is why you didn't see my weekly updates about Camp this year. Onwards with the novel summary.
Genre: Urban fantasy? Supernatural? I've no idea.
Word Count: 69,908
Prompt: The show Dead Like Me
Main Characters: Rosalynne, Amorita (Death Herself), and the Baddie.
Minor Characters: Simon, William, Max, Tim, Steve, Barb, Ruby, and the other Grim Reapers. Yes, ordered in level of importance. Ha.
Summation: Rosalynne never thought she'd fall in love again until she met William. The problem? Rosalynne's been dead for 200 years and works as a Grim Reaper, an assistant under Death Herself. Can William be Rosalynne's reincarnated lost lover or is something or someone trying to thwart Death?
High Points: Amorita. She was such a fun character to write. Most specifically? The scene where she goes to Heaven to talk to God and Lucifer about Purging the world so she can kill off all the people taking the reliquaries in one go.
Low Points: Ending the novel. Seriously, when you've had something in your head for so long stewing and it's finally done it's like you're missing a part of yourself now or something. I'll miss these characters.
The World: Ours but with an incarnation of Death walking around as well as people who work for her who can't die.
Memorable Lines:
Trust Simon to give her an early job. The job forced her to push her legs to their limits in racing half way across the city to get to the location on time. She shifted the handles on her bike, pulling up slightly to jump the curb and veered around the idiots on the sidewalk. Sure, she was supposed to be in the bike lane running along the side of the road but she didn't trust the motorists trying to get to work before 9AM.
Rosalynne swung her bike around an older woman walking a yappy dog and got some small sense of satisfaction when an idiot trying to take a selfie had to step to one side or be run down by her bike. She heard a curse but didn't bother to look over her shoulder. One hand did come up to give the thwarted selfie-taker a one fingered salute.
The music in her ears changed to a heavier beat and Rosalynne grinned. The pounding bass did nothing for her headache but it would help her concentrate on getting to the job before her real job. Oh the joy of working overlapping shifts of sorts. Simon couldn't even give her later work if he wanted. He gave her what fit into her schedule as given to him by Amorita.
Amorita, the mysterious woman Rosalynne, Simon, or anyone else on the team didn't want to meet. Amorita could keep to her shadows and be nothing but a name to Rosalynne for as long as her second life continued. Amoirta, Lady Death, Keeper of Souls, Grim Reaper, whatever name a person could come up with for her could stay secluded in whatever place she called home in this city. Rosalynne wished Lady Death had elected to live anywhere else. Wished wouldn't do her any good so she kept pedaling. Maybe she'd get lucky and wouldn't have to follow an ambulance to a morgue.
"You're not a good Grim Reaper," Robert told her.
She chuckled at him and she felt him watching her. She shrugged.
"You can tell that to Lady Death when you meet her but she'll just laugh," Rosalynne said.
Robert gasped and Rosalynne watched him consider her words.
"You're not Death?" Robert enquired.
Rosalynne shook her head. Robert blinked and waited.
"I'm one of her Grim Reapers. My job is to gather lost souls and bring them to her so she can bring them into the afterlife. She's the one who can tell you what happened to you and your family, not me. I do her legwork," Rosalynne said.
"So, someone stole your Grave Robber's reliquaries,"
Lady Death's voice was smooth but unnerving. It made Rosalynne want to run screaming from the room but she was paralyzed. It took Rosalynne a moment to realize Lady Death had not posed a question. She had made a statement.
"Yes," Simon agreed.
His voice was light and Rosalynne could see the sweat beading across his forehead. Simon didn't know what happened when reliquaries were taken. Rosalynne hoped he might have an idea. Apparently Lady Death could be the one to know.
"Twelve you said,"
A second statement, like she wanted to confirm whatever Simon had told her on the phone. Simon nodded this time. Lady Death took a long drag off her cigarette and exhaled five smoke rings. She was the image of calm. Rosalynne knew somewhere inside, maybe deep inside, Lady Death was not as relaxed as she seemed.
"Rosalynne," Lady Death said.
If Rosalynne had been standing she would have fallen over. She did have to tighten her grip on Barb's hand but Barb squeezed back as hard.
"You didn't see him or sense him,"
Again, not a question but a verification of fact. Rosalynne nodded. Lady Death shifted her head to look at her and Rosalynne lowered her eyes as to not meet Lady Death's gaze. She knew Lady Death would take no offense.
"Odd the Grave Robber couldn't sense him," Lady Death went on. "Not that you're the most powerful of the Grave Robbers, a child still in terms of it, but even so you should have sensed him alone in the cemetery."
...
"Even a normal Grim Reaper should have sensed him. Odd," Lady Death said.
Instead of putting out her cigarette in the ash tray, she flicked it onto the carpet. Simon winced but said nothing. Lady Death didn't even squish the cigarette to put it out. It didn't burn through the carpet and no smoke coiled from the discarded cigarette. It was as if the life had left it the moment it left her fingers. Rosalynne did not want to linger on the thought.
Amorita let out a long breath and stepped forward. To anyone watching it would look as if her body liquefied then flowed through the bars to solidify on the other side. To her the movement felt like taking a step as normal with no barrier in between. She went where she wished when she wished and nothing could impede her.
"Look out!"
Something hit her from the side and Amorita felt the sensation of flying. She landed, feeling roughness biting at her flesh as her body rolled. She heard yelling and screaming, squealing, honking, but none of it mattered. The attacker was gaining distance. Amorita blinked at the sight of blue sky above her head and shifted.
Nothing hurt. Nothing ever hurt so she sat up. People were near her, telling her to stay still and for a moment she didn't understand why. Then she looked down at herself. There was a bone peeking out of one leg and blood flowing from the wound. Her left arm was mangled as well and there were patches of skin that had been torn away. She supposed people would consider her lucky to come away so unscathed. This was an inconvenience. (Says the one who just got hit by a car...lol)
...
Stupid cars and their ability to sneak up on her. Some inventions weren't worth it. (snickers)
"Powers above and below can't end her because they end their method of getting souls. From what she tells us, she came first, so I don't think the Rules apply to her. If she wants a tsunami to hit Japan again because she thinks it'll be fun then she'll do it." (She being Death of course)
"I've been fighting this group for centuries now and every time I thought I had them finished they came back. This time they only waited four years. No, I'm done being gentle. I will purge the world: hurricanes, tornadoes, tsunamis, earthquakes, and war. I suspect when it's all said and done over four billion will be dead," Lady Death said.
...
"But that's, you can't,"
"Who's going to stop me? God? Lucifer? You? No. The purging stats in one week..."
"What's this all about, Death?" God asked.
"The faction is back," Amorita said.
"Oh, well, don't you normally handle it without meeting us?" God questioned.
...
"Normally but this time I'm finishing the group," Amorita said.
"Oh, good. Well, have at it then," God said and began to stand.
"You sure you want to tell Death to 'have at it' without hearing her plan?" Lucifer asked.
Damn him. She had almost gotten out of this without having to tell God what she planned to do. God scowled, met Lucifer's eyes then looked to her. He sat back down. Lucifer chuckled, a little smirk coming to his face and Amorita shrugged.
"I'm Purging the earth in six days," Amorita said.
...
"How many humans do you plan to Purge?" God asked.
"Four billion," Amorita replied.
She hadn't skipped a beat, replying as if she was mentioning the weather. It was her talent, really. The angel dropped his clipboard. Lucifer lost the grip he had on his cigarillo and it dropped onto the table then rolled to the edge, hovering between falling for a few moments before becoming stead. God stared at her with wide eyes and a dropped jaw.
"Four billion?" God questioned.
He sputtered...
"Oh, you're coming with me," Lady Death said.
"Why?" Rosalynne managed.
Lady Death smirked.
"Back-up,"
(Amorita and the Baddie fighting in her apartment. She's been slamming him against walls and making a general ruckus)
"This is your neighbour in four. Do you mind keeping it down? I'm trying to put my kid down for a nap."
"Sorry, deciding the fate of the universe in here," Amorita said.
"I can't believe you just dropped that like it was nothing," the man said, pointing at her discarded cigarette.
"And I can't believe you dared to stop me," Amorita said.
"Eternity's a long time. At least I know how to amuse myself."
Friday, May 15, 2015
Writing Tip #14: Reviews
We've left the mini-series in this series of writing tips behind. Yes, we've gone through the basics of setting and world-building, plots and subplots, characters and minor characters. Now we'll head back to some tips, tricks, and other fun stuff having to do with writing.
If you don't all ready know: I get inspired to write a lot of what I write based on real events and this blog is no different. The inspiration for this post about reviews came from something that happened to me in January. So, STORY TIME!
I submitted Best Friends: Body Part Fairy to this horror anthology back in December. The people for the anthology said they'd tell me what was wrong with the story and why they hadn't accepted it if that was the case but never did. Side-note: if you say you're going to do something: DO IT. Don't tell an author you'll give them a reason as to why you didn't accept their story then don't. Because guess what? That author will remember you.
Sorry. ANYWAY. Said anthology didn't accept Best Friends but I knew it was supposed to be out around this time so I went to check it out. I then stumbled upon an author who shall not be named but we'll call him Volty. Yes as in a corny adaption of Voldemort. Stay with me. ;)
Volty has other books out. He has one book in particular with a rather crude title which turns out to be a collection of short stories. The reviews were good all except one. The interesting thing about this review is it had originally been two lines to the effect of "this is not a brilliant work of fiction and nothing makes sense."
Okay, why is this all important? Volty responded to said 1-star review by saying something like "My book got it's first 1-star review and the person said I don't make sense. They don't make sense." What happened? Said reviewer SAW the tweet Volty posted then WENT BACK and edited his review, not to make it better, oh no, to PROVE HIS POINT FURTHER.
Said 1-star review is what made me read Volty's book. I also agreed with said 1-star reviewer and did not end up purchasing Volty's book. What have we learned from this tale? DO NOT RESPOND DIRECTLY TO ANY REVIEWS GOOD OR BAD.
You can (and should) give general thanks to your readers for reading your book or leaving a review in the sense of "thanks everyone for reading and reviewing! Stay tuned for my next book!" You SHOULD NOT say what Volty said or anything near it because you WILL prompt a response and if the person started negatively, well, they're going to get more negative.
While any publicity is good publicity, it's not a good thing to be known as the "bad writer." You don't want to be known as the hack who doesn't make a lick of sense. You don't want people to buy your book to see what steaming pile of crud you made now. Generally speaking you want most people to like you.
The problem with reviews (like in Volty's case) is that ONE negative review is the one we tend to take personally. It's the one that prompts us to respond negatively and the one the keeps us up at night. Does it matter if we've got six 4 or 5 star reviews? Nope. It's the one 1-star that'll stay with us.
No matter how much it hurts: DO NOT RESPOND. You won't even have to. Why? Because the six other reviewers who gave you four or five stars will be the ones who will defend you. AND LET THEM. Don't even mention a 1-star review on your social media in any way that can be seen as an attack on the reviewer. You can however turn it around: "My book got it's first 1-star review. Check that off the bucket-list!"
Not everyone is going to love your work but you can't please everyone. As hard as it is: don't let those bad reviews get you down. Remember, a lot of famous authors were rejected and had bad reviews about their books but they're still writing.
And for the love of all that exists in every plane of every world: do not retaliate. If they're outwardly mocking you on social media: block them. If they're leaving bad reviews for the sake of bad reviews: report them.
How you respond to bad reviews is criticized as much as your writing. How you respond to praise is as criticized. Remember, you're in the public eye and how you present yourself will make an impression on your readers. Make sure you don't become a train wreck people only look at because of morbid fascination.
As for Volty? Eh, I won't make an effort to go looking for his books or reading his work. That response to one bad review was my first impression of him and I didn't like it. My second impression was his Twitter account in which there were 12 tweets that were being rotated through. Yes, 12 tweets over and over and over again which means he's got nothing interesting or detrimental to say.
You have to sell yourself. How you act on social media and how you respond to fans good or bad is a IMMENSE part of selling yourself. Don't crap on yourself before you even get started.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
If you don't all ready know: I get inspired to write a lot of what I write based on real events and this blog is no different. The inspiration for this post about reviews came from something that happened to me in January. So, STORY TIME!
I submitted Best Friends: Body Part Fairy to this horror anthology back in December. The people for the anthology said they'd tell me what was wrong with the story and why they hadn't accepted it if that was the case but never did. Side-note: if you say you're going to do something: DO IT. Don't tell an author you'll give them a reason as to why you didn't accept their story then don't. Because guess what? That author will remember you.
Sorry. ANYWAY. Said anthology didn't accept Best Friends but I knew it was supposed to be out around this time so I went to check it out. I then stumbled upon an author who shall not be named but we'll call him Volty. Yes as in a corny adaption of Voldemort. Stay with me. ;)
Volty has other books out. He has one book in particular with a rather crude title which turns out to be a collection of short stories. The reviews were good all except one. The interesting thing about this review is it had originally been two lines to the effect of "this is not a brilliant work of fiction and nothing makes sense."
Okay, why is this all important? Volty responded to said 1-star review by saying something like "My book got it's first 1-star review and the person said I don't make sense. They don't make sense." What happened? Said reviewer SAW the tweet Volty posted then WENT BACK and edited his review, not to make it better, oh no, to PROVE HIS POINT FURTHER.
Said 1-star review is what made me read Volty's book. I also agreed with said 1-star reviewer and did not end up purchasing Volty's book. What have we learned from this tale? DO NOT RESPOND DIRECTLY TO ANY REVIEWS GOOD OR BAD.
You can (and should) give general thanks to your readers for reading your book or leaving a review in the sense of "thanks everyone for reading and reviewing! Stay tuned for my next book!" You SHOULD NOT say what Volty said or anything near it because you WILL prompt a response and if the person started negatively, well, they're going to get more negative.
While any publicity is good publicity, it's not a good thing to be known as the "bad writer." You don't want to be known as the hack who doesn't make a lick of sense. You don't want people to buy your book to see what steaming pile of crud you made now. Generally speaking you want most people to like you.
The problem with reviews (like in Volty's case) is that ONE negative review is the one we tend to take personally. It's the one that prompts us to respond negatively and the one the keeps us up at night. Does it matter if we've got six 4 or 5 star reviews? Nope. It's the one 1-star that'll stay with us.
No matter how much it hurts: DO NOT RESPOND. You won't even have to. Why? Because the six other reviewers who gave you four or five stars will be the ones who will defend you. AND LET THEM. Don't even mention a 1-star review on your social media in any way that can be seen as an attack on the reviewer. You can however turn it around: "My book got it's first 1-star review. Check that off the bucket-list!"
Not everyone is going to love your work but you can't please everyone. As hard as it is: don't let those bad reviews get you down. Remember, a lot of famous authors were rejected and had bad reviews about their books but they're still writing.
And for the love of all that exists in every plane of every world: do not retaliate. If they're outwardly mocking you on social media: block them. If they're leaving bad reviews for the sake of bad reviews: report them.
How you respond to bad reviews is criticized as much as your writing. How you respond to praise is as criticized. Remember, you're in the public eye and how you present yourself will make an impression on your readers. Make sure you don't become a train wreck people only look at because of morbid fascination.
As for Volty? Eh, I won't make an effort to go looking for his books or reading his work. That response to one bad review was my first impression of him and I didn't like it. My second impression was his Twitter account in which there were 12 tweets that were being rotated through. Yes, 12 tweets over and over and over again which means he's got nothing interesting or detrimental to say.
You have to sell yourself. How you act on social media and how you respond to fans good or bad is a IMMENSE part of selling yourself. Don't crap on yourself before you even get started.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Tuesday, April 28, 2015
Writing Tip #13: Minor Characters
This is the last post in the mini-series dealing with the basics of your novel. We've talked about setting and world-building, plots and subplots, and characters. Today is all about minor characters.
Minor characters are to characters like subplots are to plots and like world-building is to setting. Basically what this means is your minor characters (subplots and world building) SUPPORT, EXPAND UPON, and WORK WITH your main characters. How many minor characters do you need? Like subplots: there's no set number. You introduce as many as needed to move your story along.
Now, there are two types of minor characters.
The first is the Important Minor Character. This is the guy who's almost a main character, the one who could steal the show, but the novel is not about him. Think Gandalf, Legolas, and Gimli from Lord of the Rings. Or Snape, Dumbledore, and Bellatrix from Harry Potter. Without these characters there would be something innately missing from the plot. It's why they're also referred to as "supporting characters."
The second is the Throw-away Character. These are the Unnamed characters. The waitress. The bartender. The random elf. The orc. These guys are the folks no one really cares about and are there to populate the stage. They're all those folks in the background on set that everyone kind of looks over. In the credits they're: woman with baby, security guard #1, Dead guy #3, Cheerleader.
What's the difference? Important Minor Characters need a backstory similar to your Main Character's. You're going to want to know what motivates them to help (or hinder) the main character, how they became who they are today, and what role they play in your story. They'll need a name and a purpose. They might even evolve into a Main Character in later books and you can bet they'll become a fan favorite if you work them right.
The Throw-Away character needs nothing. They don't even need a description or a name. They are the waitress who gives your Main Character and your Important Minor Character their coffee. They are the woman your Main Character has to walk around because she's stopped in the middle of the side-walk to text. They're the body count.
Throw-Away Characters CAN evolve into Important Minor Characters over the course of a series (I'm looking at you David Jones and Maverick). Important Minor Characters can become a Main Character (I'm looking at you Tenkondin and Sable). The reverse can also happen. A Main Character can become an Important Minor Character (...sorry Dyns) or even a Throw-Away Character.
A word of advice: don't make Cashier #1 some secret spy of the villain for the sake of *GASP! PLOT TWIST!* The ONLY way you can do it is if she's appearing more than once, always makes a point of serving the Main Character or acts suspicious in such a way your Main Character starts to notice.
Remember, your Minor Characters are there to do a job: SUPPORT YOUR MAIN. Or HINDER YOUR MAIN. They are there to cause subplots, conflict, and help your world-building. They might even steal the show or provoke a spin off. And if you're really good they might get a bigger following than some of the other minor characters even if they only appear in five chapters of 100+ story (I'm looking at you Matt).
Use your Minor Characters as they're intended to be used. You don't need to do an extensive back story on every one and no, not everyone needs a name. They can be "the waiter" or "the secretary" or "the bartender" during the course of the story. Don't feel bad about randomly killing off "Bank Teller #1." She is a device to move along the plot. That's all. Put up a grave and keep moving.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Minor characters are to characters like subplots are to plots and like world-building is to setting. Basically what this means is your minor characters (subplots and world building) SUPPORT, EXPAND UPON, and WORK WITH your main characters. How many minor characters do you need? Like subplots: there's no set number. You introduce as many as needed to move your story along.
Now, there are two types of minor characters.
The first is the Important Minor Character. This is the guy who's almost a main character, the one who could steal the show, but the novel is not about him. Think Gandalf, Legolas, and Gimli from Lord of the Rings. Or Snape, Dumbledore, and Bellatrix from Harry Potter. Without these characters there would be something innately missing from the plot. It's why they're also referred to as "supporting characters."
The second is the Throw-away Character. These are the Unnamed characters. The waitress. The bartender. The random elf. The orc. These guys are the folks no one really cares about and are there to populate the stage. They're all those folks in the background on set that everyone kind of looks over. In the credits they're: woman with baby, security guard #1, Dead guy #3, Cheerleader.
What's the difference? Important Minor Characters need a backstory similar to your Main Character's. You're going to want to know what motivates them to help (or hinder) the main character, how they became who they are today, and what role they play in your story. They'll need a name and a purpose. They might even evolve into a Main Character in later books and you can bet they'll become a fan favorite if you work them right.
The Throw-Away character needs nothing. They don't even need a description or a name. They are the waitress who gives your Main Character and your Important Minor Character their coffee. They are the woman your Main Character has to walk around because she's stopped in the middle of the side-walk to text. They're the body count.
Throw-Away Characters CAN evolve into Important Minor Characters over the course of a series (I'm looking at you David Jones and Maverick). Important Minor Characters can become a Main Character (I'm looking at you Tenkondin and Sable). The reverse can also happen. A Main Character can become an Important Minor Character (...sorry Dyns) or even a Throw-Away Character.
A word of advice: don't make Cashier #1 some secret spy of the villain for the sake of *GASP! PLOT TWIST!* The ONLY way you can do it is if she's appearing more than once, always makes a point of serving the Main Character or acts suspicious in such a way your Main Character starts to notice.
Remember, your Minor Characters are there to do a job: SUPPORT YOUR MAIN. Or HINDER YOUR MAIN. They are there to cause subplots, conflict, and help your world-building. They might even steal the show or provoke a spin off. And if you're really good they might get a bigger following than some of the other minor characters even if they only appear in five chapters of 100+ story (I'm looking at you Matt).
Use your Minor Characters as they're intended to be used. You don't need to do an extensive back story on every one and no, not everyone needs a name. They can be "the waiter" or "the secretary" or "the bartender" during the course of the story. Don't feel bad about randomly killing off "Bank Teller #1." She is a device to move along the plot. That's all. Put up a grave and keep moving.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Tuesday, April 21, 2015
Writing Tip #12: Subplots
With every great war there's a bunch of little battles to be won. What does this have to do with writing? Let me put it to you this way: with every conflict, there are minor setbacks. Still confused? With every PLOT there are SUBPLOTS.
Life is not a happy trail along a singular path. There are lots of different choices to make which can put you on an entirely different path than the one you meticulously planned out in career studies five years ago. That's right, I went there. ;)
The thing with five year plans is life happens. What you thought would happen at High School graduation when you were first starting High School likely won't be what happens. Or happened. When I was younger I figured by now I'd have a husband, a nice house, and kids. I've a house, a cat, and no children. When I started high school I was planning to go into the sciences, more specifically genetics. Life happened and I don't have a degree in science or any fancy letters after my name. Hell, I figured I'd be a best selling novelist by this time and, yeah, no.
Why is this important? The same concept occurring in your story makes your story more interesting. What are these minor setbacks called? Subplots. How many do you need? Enough to make life interesting and as with most novel concepts: there is no set number on how many subplots you need.
What you do need is one main plot or conflict: defeat the bad guy. How many subplots do you need with this? Well, there could be a romantic interest (one). Your hero might not know how to defeat the bad guy (two). Your hero's sibling could be kidnapped (three). Your hero might have to find the bad guy. (Four)...You see where I'm going with this?
The fun part is there could be conflicts within those subplots. The love interest of your hero might be working for the bad guy (one-a). The hero might have to find a special relic to defeat the bad guy and learn how to use said relic (two a and two b). Your hero's sibling could be part of a bigger problem (three a) Your bad guy might be able to travel between four different worlds (four a, b, c, and d). You see how subplots can get complicated?
The job of your subplots is to make your main plot more interesting. This usually means things are going to get complicated for your character but that's okay. Complicated is good just, try not to go overboard. We don't need two romantic love interests, six different relics needing to be combined in a certain way at a certain time in order to defeat your bad guy, multiple family members being killed, kidnapped or otherwise causing distractions, and a bad guy who's always on the move all in one novel. Spread that out in a series if you're going to get so complex.
That's the other fun thing about subplots. When you are doing a series you can have new ones appear for each book or one continue over multiple books. Some might start in book 3 and end in book 6. Another might start with book 1 and end in book 5.
Do you have to tie up every subplot in every book? Yes, again, not in serials. Every subplot must be resolved before you write THE END though. If not your reader will throw the book across the room and ask what the hell happened to X? Then they'll bug you until X is resolved and that's not fun for anyone involved.
Remember, subplots are little mini-stories attached to the main story that make the story more real, interesting, and drive the main plot. Do they have to make sense right away? Nope. But they MUST have something to do with the main story. Don't throw in a love interest just because, hey romance. Said love interest should be bringing something to the main story line.
Subplots move the story forward, keep the reader's interest, give some more information about what's going on in the story, and make sense in the world of your story. They provide little battles to the main war. You don't need thousands of them but you do need a few to keep things moving along nicely. Again: there's no set number for the amount of subplots you need to have. It all depends on your story.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Life is not a happy trail along a singular path. There are lots of different choices to make which can put you on an entirely different path than the one you meticulously planned out in career studies five years ago. That's right, I went there. ;)
The thing with five year plans is life happens. What you thought would happen at High School graduation when you were first starting High School likely won't be what happens. Or happened. When I was younger I figured by now I'd have a husband, a nice house, and kids. I've a house, a cat, and no children. When I started high school I was planning to go into the sciences, more specifically genetics. Life happened and I don't have a degree in science or any fancy letters after my name. Hell, I figured I'd be a best selling novelist by this time and, yeah, no.
Why is this important? The same concept occurring in your story makes your story more interesting. What are these minor setbacks called? Subplots. How many do you need? Enough to make life interesting and as with most novel concepts: there is no set number on how many subplots you need.
What you do need is one main plot or conflict: defeat the bad guy. How many subplots do you need with this? Well, there could be a romantic interest (one). Your hero might not know how to defeat the bad guy (two). Your hero's sibling could be kidnapped (three). Your hero might have to find the bad guy. (Four)...You see where I'm going with this?
The fun part is there could be conflicts within those subplots. The love interest of your hero might be working for the bad guy (one-a). The hero might have to find a special relic to defeat the bad guy and learn how to use said relic (two a and two b). Your hero's sibling could be part of a bigger problem (three a) Your bad guy might be able to travel between four different worlds (four a, b, c, and d). You see how subplots can get complicated?
The job of your subplots is to make your main plot more interesting. This usually means things are going to get complicated for your character but that's okay. Complicated is good just, try not to go overboard. We don't need two romantic love interests, six different relics needing to be combined in a certain way at a certain time in order to defeat your bad guy, multiple family members being killed, kidnapped or otherwise causing distractions, and a bad guy who's always on the move all in one novel. Spread that out in a series if you're going to get so complex.
That's the other fun thing about subplots. When you are doing a series you can have new ones appear for each book or one continue over multiple books. Some might start in book 3 and end in book 6. Another might start with book 1 and end in book 5.
Do you have to tie up every subplot in every book? Yes, again, not in serials. Every subplot must be resolved before you write THE END though. If not your reader will throw the book across the room and ask what the hell happened to X? Then they'll bug you until X is resolved and that's not fun for anyone involved.
Remember, subplots are little mini-stories attached to the main story that make the story more real, interesting, and drive the main plot. Do they have to make sense right away? Nope. But they MUST have something to do with the main story. Don't throw in a love interest just because, hey romance. Said love interest should be bringing something to the main story line.
Subplots move the story forward, keep the reader's interest, give some more information about what's going on in the story, and make sense in the world of your story. They provide little battles to the main war. You don't need thousands of them but you do need a few to keep things moving along nicely. Again: there's no set number for the amount of subplots you need to have. It all depends on your story.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Wednesday, April 1, 2015
Writing Tip #11: World-Building
A novel is like a movie. You need a stage (setting) for your actors (characters) and a director (plot) to tell those actors where to go. If you're missing one element then your novel will fail. Like I said in the Setting blog post: you don't have a novel if you don't have a setting.
Setting can be as simple or as easy as you want. It can be earth based or a whole new world. When done correctly the setting can become it's own character, showing your reader the tone of your novel and giving them clues as to what's happening in your plot. No matter how complex your setting you're going to have to do a bit of world-building.
What is world-building? It's everything that occurs in the world you've made, or the world you're borrowing (earth). What do I mean by everything? Here's a world-building sample question list:
So, why the questions? They're examples and nothing more. You may need one set in great detail (like the magic set) and not another (like currency). Furthermore, your world-building serves the story, not the plot, these are two entirely different things. Your story is the finished work from first to last word. The plot is the series of events (conflict) that runs through the story. World-building is kind of like stepping stones.
Anyway, world-building serves the story. Your reader does not need to know every single rule in the world, especially if said rule will never come up. You're not writing an encyclopedia or new law book for your world. You're giving the reader enough knowledge so they know why the characters may be in trouble if these use certain types of magic or whatever. It's actually cool to leave out some little details so the world is mysterious and interesting.
A few things you should ALWAYS remember when world building:
The Princess: Is it about a princess who's kidnapped and has to find her way back home? Then you have to know the differences between poor and rich in your society, possibly about how clothing is made and who makes it, possibly other countries, and especially food and how it's obtained. Do you need to know about religion? Eh, not really. A simple "She prayed to the gods to let her get back home" is good enough. Do we need to know about politics? Hells yes. She's a princess, this is going to come up. So, who rules? How many rule? What's the hierarchy like in ruling? How does one secure land?
You'll also have to know why she's been kidnapped and what the people think of her. Is she important because she's a princess or are the people okay with her younger brother being the ruler even if he's not of age because they're a patriarchal society? Good example: The Starks in Song of Ice and Fire. Sansa and Arya are leveraged by many enemies because it's thought all the boys are dead and both girls will be the Stark in Winterfell. BUT, if one of the boys pops up then the girls don't matter so much.
The Mage: Someone comes into newfound magic! YAY! See that big set of questions up there about magic? Yeah, answer all those. Do you need to know how many Kings rule, who rules under them, etc? Eh, not really. A general mention but you're going to be focusing more on how society deals with any aspect of magic. So you won't need to know who the King was two centuries ago. Hell, depending on the story you might not even need to know who the current King is. And depending on who's coming into their magic you might not even need to know about how the 'rich' people live. Good example: Harry Potter. Everything in the story revolves around magic and how it's used and seen...so I'm told. I haven't actually gotten around to reading it yet.
The BARE BASICS of world-building are the following:
Now do you see why you don't need the whole big list of questions in the beginning? World-building is completely dependant on your setting, your plot, and your characters. Again, it's only as complicated as you need it to be and you don't need to tell the reader everything.
A word of advice: figure out the main conflict of your story and how your characters are going to solve that conflict. World build from there. Remember, the world-building comes after you know what your stage (setting) is going to look like, who your actors (characters) are, and what direction (plot) the story is going in. And no, your reader doesn't need to know every little detail.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
Setting can be as simple or as easy as you want. It can be earth based or a whole new world. When done correctly the setting can become it's own character, showing your reader the tone of your novel and giving them clues as to what's happening in your plot. No matter how complex your setting you're going to have to do a bit of world-building.
What is world-building? It's everything that occurs in the world you've made, or the world you're borrowing (earth). What do I mean by everything? Here's a world-building sample question list:
- What kind of currency does your world have? What is the cost of living for an average person and how many may or may not be below the poverty line? Is there a big gap between poor and rich?
- What kind of clothing do the people wear? Does this clothing change based on status? Who makes the clothing? How difficult is it to get the materials to make clothing?
- How many countries are in this world? What are the boundaries between countries like? How is the world ruled (multiple Kings, one King, lord and ladies, etc)? How do people travel between countries? Do they need permits in order to travel from one country to another? How many languages are there? Are there different races and do the races have different customs than others?
- What are the customs? Are there days of the week, months, years, different than ours? What holidays are there and how are they celebrated? What are the traditions?
- How do they build and what are their main building materials? What are their streets and roads like? How are their cities and towns laid out? What kind of technology do they have?
- What kind of food do people eat? At what time? How much? What kind of table manners are people in different castes expected to have? Does food differ between rich and poor and by how much? How easily accessible is food? Does each country have its own supply or do they trade for rarities and what are those treaties like?
- What does society think about and how does it treat: sex, abortion, religion, specific customs, women, men, animals, and children? What are the general rules of society and how is a person punished if these rules are broken? What are the morals of society as a whole? What do they do for entertainment?
- What is the main religion? Are their cults? How does believing or not believing in this religion affect a person?
- What's the wild-life and fauna like? Are there hybrid animal-humans? Do some countries have specific fauna and others don't? What's the general layout of the lands? Forests? Rivers? Desert? Mountains?
- Is there a caste system? If so, how does it work and can one move up or down in the system?
- Is there magic? If so, what are the rules behind this magic? Do people need a totem, potions, rituals, or some other object of power? What are the limits to the magic? Is it only certain people who can perform it and if so, how are these people seen by society as a whole? Are certain mages liked more than others and are there forbidden magic types? Why are these magic types forbidden but others not?
So, why the questions? They're examples and nothing more. You may need one set in great detail (like the magic set) and not another (like currency). Furthermore, your world-building serves the story, not the plot, these are two entirely different things. Your story is the finished work from first to last word. The plot is the series of events (conflict) that runs through the story. World-building is kind of like stepping stones.
Anyway, world-building serves the story. Your reader does not need to know every single rule in the world, especially if said rule will never come up. You're not writing an encyclopedia or new law book for your world. You're giving the reader enough knowledge so they know why the characters may be in trouble if these use certain types of magic or whatever. It's actually cool to leave out some little details so the world is mysterious and interesting.
A few things you should ALWAYS remember when world building:
- Stereotypes should be avoided. Don't make white rulers and black slaves. Please, Higher Power, AVOID that.
- Small details are sometimes better than a huge run on Bible. For instance, how a person greets a higher up can say a lot about the culture.
- There are people who will not behave as culture dictates because of free will. (Raven in Bonehemmer Princess comes to mind...)
- Just because a rule or punishment might be cool: if it's not important to the story then don't include it. On that note: Take a look at how the real world works and base your world off it.
- Not everything has to be a huge info dump for the reader, show instead of telling.
- The changes in one part of the world (new laws in a different country, draughts, famine, etc) effects other parts of the world.
The Princess: Is it about a princess who's kidnapped and has to find her way back home? Then you have to know the differences between poor and rich in your society, possibly about how clothing is made and who makes it, possibly other countries, and especially food and how it's obtained. Do you need to know about religion? Eh, not really. A simple "She prayed to the gods to let her get back home" is good enough. Do we need to know about politics? Hells yes. She's a princess, this is going to come up. So, who rules? How many rule? What's the hierarchy like in ruling? How does one secure land?
You'll also have to know why she's been kidnapped and what the people think of her. Is she important because she's a princess or are the people okay with her younger brother being the ruler even if he's not of age because they're a patriarchal society? Good example: The Starks in Song of Ice and Fire. Sansa and Arya are leveraged by many enemies because it's thought all the boys are dead and both girls will be the Stark in Winterfell. BUT, if one of the boys pops up then the girls don't matter so much.
The Mage: Someone comes into newfound magic! YAY! See that big set of questions up there about magic? Yeah, answer all those. Do you need to know how many Kings rule, who rules under them, etc? Eh, not really. A general mention but you're going to be focusing more on how society deals with any aspect of magic. So you won't need to know who the King was two centuries ago. Hell, depending on the story you might not even need to know who the current King is. And depending on who's coming into their magic you might not even need to know about how the 'rich' people live. Good example: Harry Potter. Everything in the story revolves around magic and how it's used and seen...so I'm told. I haven't actually gotten around to reading it yet.
The BARE BASICS of world-building are the following:
- Is magic important to your story? If yes, go into some rules and limitations about magic.
- Is money important in your story? If yes, go into currency arrangements, how people obtain money, etc.
- Is the Leader (King, Queen, etc) important in your story? If yes, go into the differences between rich and poor and expectations of royalty. Who ruled before who and how the rule is separated between countries as well as what treaties their may or may not be.
- Is someone in your story part of a religious faction? If yes, then you're going to need to go into religion.
Now do you see why you don't need the whole big list of questions in the beginning? World-building is completely dependant on your setting, your plot, and your characters. Again, it's only as complicated as you need it to be and you don't need to tell the reader everything.
A word of advice: figure out the main conflict of your story and how your characters are going to solve that conflict. World build from there. Remember, the world-building comes after you know what your stage (setting) is going to look like, who your actors (characters) are, and what direction (plot) the story is going in. And no, your reader doesn't need to know every little detail.
Until next time: thoughts, comments, rages, rants, questions, and out-right insults can be directed to the comments section.
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