Tag Archives: Guest Author

2011 Guest Author Recap, Part II

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Last week we gave you the first of four Year-End Guest Author Recaps. We continue this month’s author rewind with eight more guest posts.

2011 Guest Authors, Part II

Just two more weeks to go for more guest author post from 2011.

2011 Guest Author Recap, Part I

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We’ve had some great guest posts this year, covering the gambit of topics from writing that first draft to getting it published. As thanks, we’d like to give all of our guest authors a month off and instead point you to the gems this year has given us. Take this time to re-read a post that struck a nerve or catch the one you might have missed.

2011 Guest Authors, Part I

Stop in next week and the rest of the month for more guest author post from 2011.

The PLC Interviews A.S. King

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A.S. King’s newest YA novel, Everybody Sees the Ants (Little, Brown October 2011) is a Junior Library Guild selection, has received several starred reviews, and has been called “a subtly written, profoundly honest novel” by Booklist. Her 2010 YA novel, Please Ignore Vera Dietz was a Michael L. Printz Honor Book, an Edgar Award Nominee, a Kirkus Reviews Best Book for Teens 2010, a Junior Library Guild selection and a YALSA Best Fiction for Young Adults pick. Her first YA novel, The Dust of 100 Dogs, was an ALA Best Book for Young Adults, an Indie Next pick and a Cybil award finalist. Her short fiction for adults has been widely published and was nominated for Best New American Voices 2010. Amy now lives in Pennsylvania with her husband and children and is a huge fan of Kurt Vonnegut, corn on the cob, nice weather, libraries, her community swimming pool, and fleece socks.

We are thrilled to have her as our guest author today at the PLC.

PLC: First of all, congratulations on your latest book, EVERYBODY SEES THE ANTS. Can you tell us about your inspiration for the book?

AMY: Thank you! I’m very proud of the book. It was inspired by two things unfolding in my head (and in a character) at the same time. First, the realities of being the family of a still-missing POW soldier from the Vietnam era. When Lucky Linderman, our main character, first spoke to me, he spoke of the hole in his family that was caused by this missing person  (his grandfather) and by the emotional absence of his father due to this situation. Then, as I started to write Lucky in his everyday life, I saw that he had been brutally bullied from the age of seven and none of the adults in his life were doing anything about it. It seemed to mirror the POW/MIA situation that I’d researched so deeply and there’s your inspiration right there.

Did writing ANTS teach you anything new about yourself as a writer, or about the writing process?

I guess every book teaches me something new. This one reaffirmed that I should follow my gut no matter how odd the path. It also reaffirmed that sometimes, for a story to be right, you have to change large things inside of it. In the first draft and many subsequent drafts, the reason for going to Arizona was different, and I am so glad my editor (and agent) made me rethink that because I love what replaced it. I think when it comes to new things, this book taught me some stuff about the business. Mainly, this: just because one person says a book isn’t worthy doesn’t mean others will think the same.

Congratulations, also, on the Printz Honor you received for PLEASE IGNORE VERA DIETZ. How has winning this honor impacted you as an author?

Thank you! I’m still buzzing from it! I’m not sure how it’s impacted me as an author. I’m still stubbornly realistic when it comes to selling the next book. Awards are not sales numbers. <— I repeat. Awards are not sales numbers. So I still write books and cross my fingers and hope they will find homes. I do not take anything for granted. That said, some people who know what the Printz Honor is now show me a bit more respect…whereas before I was just some hack who “wrote children’s books.” Most of all, it’s affected my time. I’m now asked to endorse more books, to go more places and to participate more in the school and library arena, which is probably my favorite part of this whole journey (except the actual writing) because it means I get to impact teenagers and give them that in-person positive boost. I live for that.

You and your husband used to be farmers in Ireland. Have you found any similarities between farm work and writing work?

Well, we weren’t farmer farmers. I lived next to farmer farmers and that’s the hardest work you’ll ever do, I think. But we were self-sufficient granola freaks who lived off our own food. But yes. There are HUGE similarities between farming and writing. I wrote a blog about this called Chickens and Writing: A Love Story. One of the biggest advantages of having lived that sort of life before finally achieving my publishing goals was learning how to live on nearly nothing. As a writer, even if you’re paid enough to get you through a year, it comes in weird chunks and at odd times, so you have to know how to budget and be really smart with money. That was also true for the granola freak part of my life.

Do you ever encounter writing slumps or slow times? How do you deal with off days? Do your magic writing pants help?

My magical writing pants always help. I don’t so much have slump times, but there are times when I am so busy doing the business and promo side of this that I don’t have time for the writing side and those are the days when I am most cranky. Mr. King will tell you: if the kids are in bed and it’s just too late to write, I say things like, “Damn,  wish I would have got at least 500 words in today. It would have only taken me 15 minutes.” I don’t usually have dry times because I’m a book ahead in my brain. At the moment, I have two characters duking it out for the 2014 spot, and I’m working on the 2013 book.

What will we be seeing from you in the near future? Any announcements to share?

I have ASK THE PASSENGERS coming in Fall 2012 from Little, Brown. It’s a story about Astrid Jones, a high school senior who sends her love to the passengers flying in the airplanes overhead because she can’t seem to find a place for it on Earth. It’s a book about small town gossip, less-than-affectionate family life and Socrates. And love.

Thank you for your time, Amy. And congratulations again on your continued success!

Thank you for your support and for having me to the blog! Best of luck with everything and see you next year when I come back to Arizona for the usual festivities!

Building the (Story) Arc

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By Jodi Moore

Confession time.

I’ve been writing stories since I could hold a crayon. I’ve attended countless writer conferences, workshops and seminars. I hold a degree in education.

But the concept of a story arc has always been somewhat of a mystery to me.

Obviously, I accept its existence. I bow to its importance. I would even venture to say I hold every story, whether I’m writing or reading, up to its brilliance.

But to have to explain one, especially to 300 wriggling children?

* shudders *

This past May saw the birth of my first picture book. I couldn’t wait to share my little Dragon with the world and eagerly set up an elementary school visit.

Rather than discuss the publishing process, I decided to try to inspire my audience’s own creativity. I wanted to show the students how building a strong story is like modeling a sandcastle. Each one needs its own set of tools. Each one requires a firm foundation upon which to build and sculpt the different layers. Each one flourishes with its own fine revisions.

It was all so perfect in my mind.

Until I realized that I would have to discuss the parts of a story and * gasp * weave them into a story arc.

I felt a bit like Noah. The drizzle had already started and I was presented with the challenge to build the “arc”.

“R-I-G-H-T. What’s a cubit?”

(Okay, I know I’m dating myself, but if you’ve never heard Bill Cosby’s shtick on the conversation between Noah and The Lord when building the ark, you must take a moment and do so. Go ahead. I’ll wait. * nibbles chocolate *)

Don’t you just love Bill? But I digress…

No problem, I thought. I can do this. I have the Internet. I am linked to great minds throughout the world. So I searched. I Googled. I Binged. I Yahoo!ed.

I found countless sites discussing the parts of a well-crafted story. I found dozens of depictions of story arcs.

All different.

Seriously, I couldn’t find two that were the same. While some were very complex and others (thankfully) more simplified, it seemed the only consistency was that no one could agree on the parts of a story, let alone the specifics of the elusive story arc.

I nailed a few planks together. I feared my initial attempts at explanation wouldn’t float. Everything felt too academic. Stiff. Hollow. I could sense both the ship and my spirits sinking.

Upon further pondering, however, I realized I wasn’t looking for a smooth sail. I wanted to give these students a good ride. My arc demanded spark. I needed to find a new analogy.

I wanted a thrill ride.

And then, in a Lucy-Van-Pelt-makes-Schroeder-flip-in-the-air-“That’s IT”-revelation, it hit me.

Have you ever noticed how much a story arc looks like a roller coaster?

Think about it for a moment. First, you and your friends/family (CHARACTERS) arrive at the park (SETTING). You climb aboard cars that are all linked together. The first pulls the others along, each one dependent on the one before it (ACTION and PLOT).

Then the TENSION builds…clank-clank-clank…ever so s-l-o-w-l-y as you make your ascent. A cacophony of emotions (thrilled/terrified/ecstatic/exhilarated) mount as you continue that climb…up…up…up…! How your heart fills (with joy, dread, panic) at the tippy top (the CLIMAX) where you seem to hang – breathless! – for a split second until you – WHOOSH! – rush downwards through the twists and turns and loops to the final (RESOLUTION) stop!

And, to continue this analogy…if the ride/story is exciting enough, won’t you want to ride/read it again and again…and recommend it to everyone you know?

Look. I’m not saying that I have all the parts included or completely defined. And it’s very likely that I will come across English scholars/teachers/writers/readers/roller coaster enthusiasts along the way that will shoot my theory – and my simplified story arc picture – full of holes.

But it worked for me. Following our “ride” (and yes, we even threw our hands up in the air as we plummeted down!), these kids seemed to “get it”. They were actively engaged. They could name characters, discuss action and plot. They could identify the climax.

Most importantly, they were ready – and excited – to buckle in tight and create their own work.

After all, doesn’t every story deserve to be a thrill-read?

Jodi Moore is the author of WHEN A DRAGON MOVES IN (May 2011, Flashlight Press) and GOOD NEWS NELSON (Story Pie Press, tbd). Jodi considers books, along with chocolate, to be one of the main food groups.  She writes both picture books and young adult novels, hoping to challenge, nourish and inspire her readers by opening up brand new worlds and encouraging unique ways of thinking.  Jodi is the proud and (admittedly) neurotic mother of two incredibly talented young adults and never ceases to be amazed at how far the umbilical cord really will stretch. She lives in central PA with her always-supportive best friend/husband, Larry, two laughing doves and an ever-changing bunch of characters in her head. In addition to reading, writing and chocolate, Jodi enjoys music, theatre, dancing, the beach and precious time spent with her family.  Finally, Jodi thinks it would be really cool if one of her stories eventually became a Disney or Universal movie or theme park ride. Or a Broadway musical. Just puttin’ it out there.

The Right Word

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By Ingrid Sundberg

Mark Twain famously once said “the difference between the right word and the almost right word is really a large matter – it is the difference between the lightening and the lightening bug.”

As writers it’s important to know that we’re more than storytellers, we are wordsmiths! Every word we type has potential to do more than convey character and plot. Our words can also deepen the mood and emotion resonance in our novels.

Ilsa J. Bick is a master of this technique. In her apocalyptic zombie novel Ashes (which comes out Sept 6th) Bick intensifies each page with the danger of her world through the use of aggressive words. In the following examples Bick uses the violent words of: slash, spear, and pierced, to describe otherwise peaceful images.

“She registered the slash of morning sun in an already too-bright and very cold room…” (301).

“She heard the creak of Tom’s footsteps overhead, and a spear of light pierced the darkness as he shone his flashlight down the stairs” (159).

Bick’s words are doing double-duty. They not only convey the imagery and action of the scene but they also infuse each sentence with emotional stakes. Never once does Bick’s protagonist feel free of the horror that surrounds her. This is because Bick allows her powerful word choices to accumulate over the entire novel, creating an air of danger that is unconsciously felt by the reader.

Two Great Exercises to Learn How to Do This Yourself:

Exercise #1: Scene Analysis

Pick a scene in a book where you (as reader) felt an emotional connection. Perhaps this was a scene that made your cry or cringe or got your blood pumping. Re-read the scene and pick out the words that relate to the emotion you felt. Take a look at those words and how they’re used. Become aware of when a specific word choice affected you unconsciously!

Exercise #2: Write with Word Lists

A great way to use this technique in your own work is to create word-lists. Ask yourself what the emotional mood of the scene you’re writing is (i.e. fear, nervousness, lust, etc.). Now write a list of words that invoke of this feeling for you. For example, if the feeling is nervousness my words list could include:

wobble
chatter
prickle
tremble
ice
upturn
squeamish
clench

As you go to write your scene, try to use some of your words. You don’t have to use all of them, and you will easily start to come up with new ones as you write. But when you’re done you’ll find a new emotional layer has been added to your work with the touch of a few carefully chosen words.

INGRID SUNDBERG writes young adult novels, picture books, screenplays, and illustrates for children’s magazines. She is very active in the Kidlit community and blogs about writing craft on her blog: Ingrid’s Notes (www.ingridsnotes.wordpress.com). She currently works at an independent bookstore in the children’s department and is attending the Vermont College of Fine Arts’ MFA in writing for children program.

Finding Your Niche

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by Kevin Hearne

Urban fantasy is a vast, undiscovered country that’s still in its early growth period as a genre. If you’re looking for a place to break into the market, I think nothing offers so many opportunities as urban fantasy—the “rules” are few and the editors are already looking for books that are a bit different from the early tropes that have been established.

I spent seventeen years trying to get published in various genres before I discovered urban fantasy at the bookstore. The basic premise was a revelation to me: pick a critter from mythology or folklore, drop it into a contemporary setting amongst clueless humans, and hang on for the ride. When one considers the breadth of human belief and the staggering number of places those old gods and creatures can get into trouble in the modern world, the possibilities are endless—but if you look at the shelves, you’ll see that only a fraction of the territory has been explored so far. Most everything is happening in New York, Chicago, or Los Angeles, and most of it concerns vampires, werewolves, demons, or faeries. To contribute something new, therefore, all you have to do is browse and see where there’s some negative narrative space on the shelf—a wee little niche that you can fill, that you want to fill—and then write it. I know it’s easier said than done, but honestly, it worked for me. I got a three-book deal by starting with this very basic market analysis.

One thing I noticed immediately in my review of the genre was that there were relatively few males writing about male protagonists. That would set me apart right away. Once I had that thought, my own fondness for Celtic traditions suggested a Druid in the modern world might be a good time. My quick scan of the shelves revealed that there were exactly zero urban fantasies featuring a Druid hero. I have since learned that there was a series at that time featuring a Druid in Boston who’d lost his powers, but I went to writing The Iron Druid Chronicles thinking I’d have no competition (instead of little competition) and my book would therefore stand out a bit from the rest of the slush pile. I had a blast writing it; compared to the baggage that vampires and werewolves drag around with them, Druids are practically blank canvases.

By the time I finished Hounded, the first book in The Iron Druid Chronicles, I’d been trying to get published for nineteen years. When it landed me an agent inside of two months, I began to hope that maybe I’d finally written something ready for the market. It turned out to be precisely the sort of thing publishers were looking for: once my agent submitted it, Hounded sold in just two weeks in a four-way auction. It can happen for you too.

There are still plenty of niches in urban fantasy that need filling. To my knowledge, there are no gay or lesbian main characters; there’s a profound lack of gnomish heroes trying to make a difference in a world dominated by human giants; there are no manticores struggling for acceptance in a world full of prejudice, and so on. Go see for yourself; the ideas are out there, waiting for you in the bookstore, between the books that are already on the shelves, screaming in all the voices of the world’s mythology that they deserve some attention.

And whatever you do, whatever you’re writing, keep at it and don’t give up.

Kevin Hearne is a native of Arizona and really appreciates whoever invented air-conditioning. He graduated from Northern Arizona University in Flagstaff and now teaches high school English. When he’s not grading essays or writing novels, he tends to his basil plants and paints landscapes with his daughter. He has been known to obsess over fonts, frolic unreservedly with dogs, and stop whatever he’s doing in the rare event of rain to commune with the precipitation. He enjoys hiking, the guilty pleasure of comic books, and living with his wife and daughter in a wee, snug cottage.

An Interview with Elana Johnson

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Elana Johnson is the author of Possession, her debut novel from Simon & Schuster. She is also a founding author of the QueryTracker blog, blogs regularly at The League of Extraordinary Writers and co-organizes WriteOnCon. Elana has a wealth of knowledge when it comes to writing and publishing, which she shares at her personal blog. (If you haven’t read it, you’re missing out.) Elana is generous and entertaining, and we are pleased to have her as our guest author today. 

PLC: First of all, congratulations on Possession! What do you hope readers will take away from this book?

EJ: I hope readers are glad they spent the time to read it. That the hours were worth it. If that’s the case, then I’ll be happy.

PLC: For those who don’t read your blog, will you share a bit about your journey getting this book published?

EJ: Oh, man, I don’t think we have enough time for that. And I don’t really blog about the behind-the-scenes of how I queried and stuff. Also, people aren’t reading my blog??? I’m shocked. ;)

Anyway, I wrote POSSESSION in April of 2008—which was before The Hunger Games was published and before I even knew what Publishers Marketplace was. I’d been a writer for about 3 months, and POSSESSION was my third novel.

I wrote it and put it away, and sort of worked on it off and on for the next 8 months. During that time, I was querying my first novel, which failed epically. In December, I was looking for the next book I would try to query, and I chose POSSESSION. So I revised hardcore for about 4-5 months and started querying.

8 months later, I’d done two agent-requested revisions, sent 189 queries, and been rejected a billion times. Then I got an offer of representation. I did a few more revisions and the book sold fairly quickly after that. That was February of 2010.

Now it’s June 2011, and my book baby is about to be born!

PLC: What has surprised you the most in the process of getting Possession published?

EJ: Actually seeing the book. I know that sounds lame, and I know it’s a book, but to actually see it? That was holy blow-my-mind weird. Surprising. Like, “Hey, it IS a real book!! Wow.”

PLC: You’ve written a book for aspiring authors entitled From the Query to the Call. Will you tell us a bit about this book and how our readers can get a copy?

EJ: This book stemmed from my time writing for the QueryTracker blog. I’d spent a great deal of time studying and perfecting the query writing process, and I’d been blogging about it on QT. And I like writing query letters, which is a bit on the psychotic end of the spectrum.

I’d queried my brains out, had many experiences, and decided to put it all together in a guide for aspiring authors to use and learn from. So I did. The eBook is free on my website: www.elanajohnson.com

PLC: We are continually amazed by all the things you’re involved in (writing, WriteOnCon, Query Tracker, League of Extraordinary Writers, family life, social media, etc.). What’s your secret for getting so much accomplished and doing it all so awesomely?

EJ: I find what I can give up, and I give it up. Usually it’s sleep. I try hard not to give up the time with my family, friends, and co-workers. Something has to give, so yeah. I’m tired most of the time. Or at least my clone is…

PLC: What’s once piece of advice you have for aspiring authors?

EJ: I’ve given so much advice, and I hate to repeat myself, so I’ll see if I can come up with something else…

Listen to your gut. If it says you’re not ready, you’re not ready. Get back into the MS and revise some more. If it says you’re ready, chug the Pepto Bismol and get submitting. I really think the gut knows.

PLC: As fellow fans of bacon, we’d love to know your favorite concoction. What in the bacon realm really brings you to your knees?

EJ: Okay, so you know I’m not hoarking back at every meal, right? I mean, I want to, but yeah. Doesn’t happen. For me, there’s no better pairing than bacon and hamburgers. A good thick slice of bacon on a hamburger… Yum.

Thank you, Elana!

Setting, Characters, Plot, Style, and The Big 4 + 3

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by Jack Mangan

Storyteller job 1: Transport Your Audience

Ensure that some element or elements of your work takes them to another place, where they can feel something poignant, something that will impact their experience of the real world. Whether you’re looking to write the next media juggernaut bestseller or the next critically-celebrated award-winner; whether you’re peddling spoon-shallow adventures or deep journeys through your characters’ souls; whether it’s High Fantasy, High Art, or Highlander fanfic; you must draw the audience out, in, and onward. A non-compelling read can still be enjoyable, but if the readers aren’t sucked in, then the story won’t resonate with them, and they won’t recommend or remember it in a month. Compare a generic Kung Fu Theater flick to “Crouching Tiger, Hidden Dragon”.

What basic story components ensure that the reader’s real world vanishes, replaced temporarily by the ones on your pages? There are 4: Setting, Characters, Plot and Style. Every book, film, and sporting event has these elements, but if yours is rich enough in any one of them, then your transporter is sure to work its magic (or high-tech function) on the readers.

Yes, I’m aware that you know all this already, but it bears repeating. To prove our agreed point, and hopefully to illustrate the methods you can emulate when constructing your stories, let’s examine how Setting, Characters, Plot and Style have been applied in our culture’s greatest works. And by “greatest”, I mean “most far-reaching, widely-known, and influential”, i.e. “Lord of the Rings”, “Star Trek”, “Star Wars”, and “Harry Potter”, with nods to the big 3 Superheroes: “Superman”, Batman”, and “Spider-Man.” The Big 4 + 3. Some of these are primarily film and television and serialized comic stories, but their lessons can certainly be applied to the written word. (Yes, I also love “Dune”, “Hitchhiker’s Guide”, “Firefly”, “Neuromancer”, et cetera, ad infinitum. . . This is just my cultural observation. If my assessment overloads your geek outrage meter, then direct the angry comments at me. Don’t bother the fine folks at Parking Lot Confessional.)

In the interest of blog brevity, we’ll conduct a high level view, without getting overly detailed.I’ll present examples of what works; you’ll have to figure out on your own how these apply to your material.

Setting

How iconic and unforgettable is the Death Star, with all of its dread power and titanic scale? Who wouldn’t love a chance to explore the fully-realized wonders of J.R.R. Tolkien’s Middle-Earth? Spidey’s New York and Clark Kent’s Metropolis are adequate, but Batman’s gothic, decadent Gotham is a marvelously sinister playground for his dark acts to play out. When the protagonists inhabit a distinctive place, like the Starship Enterprise or Hogwarts School of Witchcraft and Wizardry, the setting can often take on a personality of its own, becoming a minor character unto itself. Similarly, some low-or-one-dimensional side characters can serve well as setting. Yes, as long as a minor character is interesting, it’s perfectly allowable for them to be two-dimensional. Jabba the Hutt is possibly the perfect example. The Klingons as a species are another (hatemail to [email protected]).

Setting must also necessarily include the fantastical elements and possibilities. Who watched the Star Wars films and didn’t want a lightsaber of their own? How fascinating and rich is the concept of The Force? Yes please, I’d love to take the Batmobile — any of the Batmobiles — for a test drive. What Harry Potter generation kid didn’t want to have a wand and broom of their own and learn spells from Dumbledore and the Hogwarts teachers? I, for one, would love to give Quidditch a try – - or 3D chess vs. Mr. Spock.

I’ll be in the Batcave, testing out my web-shooters.

Characters

Of course we need to love and cheer and feel empathy for the central protagonist, but it’s possibly more important for the reader to fall for the people around them. As Luke ascends on his path to Jedi Knighthood and unlocks the secrets of his destiny, he also becomes something godlike and no longer attainable. We’re left on the bleachers (or with Ewoks on the Moon of Endor) with his friends to cheer on our hero in his final stages. Yes, we weep and cringe at his moments of agony, but he’s still stepped up to a plane above our own. If we weren’t gaga over the more relatable superstars Han Solo, Chewbacca, Leia, and everyone else by now, then we’d feel a bit left behind in their mundanely awesome company. The same goes for Harry Potter. Our heart breaks for him in his cupboard beneath the vile Dursley’s stairwell, but when his journey begins, we fall in love with Hagrid, Ron, Hermione, Dumbledore, Snape(!), etc., through his eyes, at the same time that he does. In each of these cases, it’s their flaws at least much as their admirable qualities that have won our hearts.

Character interaction should display variances in tone and civility, just like your real-life relationships. The Spock (cold logic), McCoy (red-face emotion), and Kirk (cool-headed strength) dynamic made us care and feel as though we were there with them in red shirts (gulp); this was also far more important to Star Trek’s success than any hokey aliens or bogus techie plot resolutions. Spider-Man and Batman’s special abilities and toys look like fun, but we also feel for their personal, private struggles.

Which leads to a final point about characters. . .  Audiences are also pretty fascinated by Power, with a capital P. It’s what drew us instantly to Darth Vader in Episodes 4 and 5, before we knew he was a deadbeat dad; he was a f***ing force of nature. It’s what draws us most to Superman. We love Frodo and his Hobbit bromances, but we swoon for Gandalf, and to a lesser extent, Aragorn. Gandalf’s undisputed command of sorcery is his sexiest quality. OK, now I feel awkward. . .

Plot

Much has been made of Luke Skywalker’s Campbellian Hero’s Journey. It’s been a long time for most of us (cough), but let’s not forget how each of the revelations, victories, and defeats dropped our jaws wide during our first Star Wars viewings. Harry Potter’s world is marvelously, cleverly constructed and populated with wonderful friends, but the destiny planted on his brow as an infant has kept zillions of eyes glued to pages and movie screens, all feeding minds that need to know how everything turns out. The Lord of the Rings’ epic story never relents, never lets us or Frodo or the scattered pieces of the Fellowship relax; the edges of our seats are worn thin as we journey with them through their trials and dangers and enemy confrontations. We’re always interested and compelled to continue because fascinating new events are constantly unfolding, minor victories are being won, all while we’ve been teased with incredible excitement to come (Luke’s final confrontation with his Father and the Emperor, Harry’s final confrontation with Vol – - He-Who-Shall-Not-Be-Named, Frodo’s final trek through Mordor to confront the Crack of Doom). We’re interested and compelled to continue because we care deeply about these characters, and might cry during Kirk’s sermon at Spock’s funeral.

Style

The most neglected of the 4 elements, and also the most-criticized element of our 4 + 3 example franchises, if you listen to naysayers. In spite of the whines, J.K. Rowling’s style was light, comedic, and delivered her story in a way that kid readers found irresistible. Line up with the hipsters to bash George Lucas’s writing ability, but Yoda’s legitimately real-world applicable wisdom (from Episodes 4-6) and distinctive speech mannerisms have mesmerized generations. Stan Lee’s goofy conversational eloquence added fun and humanity to our Spider-Man experience. I find LOTR kind of dry at points, though not as desert-like as The Silmarillion – - but there’s still a lyricism and a grandiosity that works for the epic scale and scope of the story of the One Ring. Batman is coated in buckets of matte black style. Forget the movies, great and awful and campy; have you read “The Dark Knight Returns” graphic novel?

It’s often stated that the author’s first job is to tell the story, and I don’t disagree, but there’s no reason to tell the story in a dead or coldly descriptive way. A momentary departure from our usual examples: read William Gibson, read China Mieville, read Tom Wolfe, read John Steinbeck, watch a Quentin Tarantino film. Note the loving care they put into each sentence and scene and each description, where every paragraph is alive, and even non-smokers need a cigarette at the close of each. Their words never obstruct the Setting, Characters, or Plot, never bring the author too much to the forefront, but they help to convey the auteur’s “brand” and feel and style, which the audience will come to love and recognize even without seeing bylines. Don’t underestimate the power of The Force, and don’t underestimate the power of vibrant, distinctive prose to transport your reader.

Now, let’s be honest. . . You and I both love some artworks that are lacking in as many as three of these categories. It’s possible to succeed so well at one, that the others no longer matter. And hey, posit that certain stories can’t accommodate one or more of the four categories; I’ll back up your argument. An example of my own that had a formative effect on me as a writer: Christopher Reeve’s first Superman film did a masterful job of telling his story, of bringing depth, soul, and pathos to the cartoonish Superman and Lex Luthor, all within a fairly stock city setting. Let’s not even get started on the cherished, cheesy Godzilla films of yore.

I digress.

As a sub-NYT Bestseller – - or even as a NYT Bestseller – - you need to master the art of the 4 elements: Setting, Characters, Plot and Style. If you’re too cool for Star Wars, Lord of the Rings, Star Trek, Harry Potter, or comic book heroes, then identify how these 4 elements have been utilized in your personal favorites and make them work for you.

Jack Mangan is an author, podcast pioneer, musician, father, etc., born in New Jersey, but now residing in Arizona. His “Jack Mangan’s Deadpan Podcast” features over 200 episodes of interviews, commentary, comedy skits, original music, and a great deal of community-contributed content. Jack’s “Spherical Tomi” was among the first wave of podcast novels, and was the first number one title at Podiobooks.com. His fiction and non-fiction writings have appeared in numerous online, print, and podcast venues, including such prestigious outlets as Michael Stackpole’s Chain Story project, Interzone Magazine, Podthology: The Pod Complex, Theme and Variations, 2020 Visions, Variant Frequencies, and Tales of the Talisman. He seeks to shake up perceptions and provoke independent thinking, through music, comedy, writing, and his outspoken, sometimes controversial views. More info about Jack Mangan and his work at: http://www.jackmangan.com.

The Two Manuscript Dilemma

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by Darcy Pattison

Did you know that when you write something and type the end, you really have two manuscripts? There’s the manuscript in your head and the manuscript on the page and they don’t match up.

The manuscript in your head is what you intended to write. It’s the pie-in-the-sky manuscript, perfect, moving, capable of evoking tears and contracts. It is nuanced and comprehensive. We know more than we can put on paper, always. We intend more than we actually put on paper, always.

The manuscript on the page is the result of trying to translate the ephemeral thoughts, intentions, emotions of a story. In the translation, we have to deal with word choices, sentence choices, paragraph choices and all the interactions that occur among those choices. We deal with creating a living, breathing character that has unique, compelling motivations and emotions. Add to that the choices the characters make that work together to create a plot. Multiply all that by a couple subplots. And add in the spice of creating a great voice that leads the reader through the story in a compelling way.

Wow. It’s hard to match up the thing in your head with the thing on the paper.

That’s why revision is essential. The purpose of a first draft is to get something on paper. The purpose of a revision is to match up the story in your head with what you put on paper. Sometimes that means you need–desperately–a reader who can tell you what they understand from the story: did your thoughts get reproduced EXACTLY in the reader’s head? No, didn’t think so. That’s the job of revision to make your thoughts transfer exactly–through the medium of the written word–to your reader’s mind.

Don’t look at revision as a chore, but as part of the process. The only good writing is revised writing.

Darcy Pattison is an Arkansas children’s book author and writing teacher. In 1999, she created theNovel Revision Retreat, which she now teaches across the nation. Translated into eight languages, her picture books and middle grade novel (listed below), have been recognized for excellence by starred reviews, Book of the Year awards, state award lists and more. She is the 2007 recipient of the Arkansas Governor’s Arts Award for Individual Artist for her work in children’s literature.

Most Important: Ignore The Rules

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by Beth Bernobich

When a new writer joins a workshop, they often run smack into a wall of ruls. No head-hopping! Kill all adverbs! Third person only!

Usually, the ones spouting those rules are semi-new writers, the ones who have absorbed these absolutes through critiques, but who have not yet figured out which rules are really necessary. Their intentions are good. The problem is, they don’t necessarily understand the reasons behind those rules. Worse, they sometimes mistake stylistic choices (omniscient POV) with genuine errors (sloppy POV shifts).

In truth, the only genuine rule is: “Whatever works.”

Otherwise? Rules are nothing but obstacles. They trip you up, stifle your voice, and tie your inspiration into moldy wet knots. When someone says, You must, ask them, Why?

Pay Attention To The Rules

This is not a contradiction. What the phrase really means is that it’s useful to know the so-called rules because they often turn out to be useful guidelines. But! Use those guidelines wisely. Learn the reasons behind them. (Too much head-hopping might confuse the reader. Strong, specific verbs make for stronger prose. Choose the POV that works best for your particular story, not the one that comes easiest.)

Discard the rules whenever it makes your story stronger, but know why you are making that choice.

Write What You Know

If you were born in a particular city, grew up in a particular culture, lived through the history of a particular time and place, you know that complex tapestry of taste and scent, images and emotions, and all the other myriad details that transform your story from the superficial to the real.

Know What You Write

At the same time, you should not restrict yourself to the confines of your gender, race, or past. (Or any other identification.) If you decide to write outside your so-called boundaries, however, research is your friend. Use primary sources, not secondary accounts. Don’t depend on one set of opinions. Look for contradictory perspectives. If you can, talk with people who lived through those events. Extrapolate from your own experiences to fill in emotional details. And did I mention research?

If you choose to write about a world outside your own, do so with respect.

Write What Bothers You

Be suspicious of that first idea, the one that comes slipping into your imagination as though it were coated in olive oil. Sure, that might end up being the right approach to a story. Then again, maybe it’s easy because it’s superficial, because it slides over the rough patches.

Look for the story that chases you through your dreams, and itches at your subconscious. Those are the stories that will live longest with your readers, too.

Write What Makes You Happy

Or rather, write the kind of story that speaks to your heart. If you love intricate mysteries, write them. If you love slow-paced character studies, write them. If YA stories are your deepest, truest love, then dive right in. Whatever calls to you, write that. Never, ever, let anyone tell you what kind of story you ought to care about.

Be Arrogant

Your stories are important. Your stories—yes, yours—will lift someone’s heart, make them laugh, make them think, and comfort them when they grieve. Your stories will transport them into worlds and lives they never imagined before. You are the only one who can tell those stories properly. So write, and be damned the ones who tell you otherwise.

Be Humble

Understand that writing is not a short journey. There is no end to the learning, to improving your craft. Complacency kills the writer more often than editors, critics, or indifferent readers. Forget your ego. It’s a trap. All you should care about is making your story as strong and true as you can.

Remember To Breathe

Writing can be a lonely, frustrating process. And when it’s not lonely, it’s often filled with criticism. If things get rough—and they can—talk to your writer friends. Pet your cat. (Or dog. Or parrot.) Search for the balance point inside your soul.

Breathe. 

And remember the joy of telling stories.

Beth Bernobich is a writer, reader, mother, and geek. Her short stories have appeared in such publications as Asimov’s, Tor.com, Interzone, Strange Horizons, and Postscripts. Her first novel, Passion Play, appeared from Tor Book in October 2010. It won the RT Reviewer’s Choice Award for Best Epic Fantasy, and was long-listed for Tiptree Award and the British Fantasy Award. Her first YA novel, Fox and Phoenix, is forthcoming from Viking in October 2011. You can learn more about her from her website, http://www.beth-bernobich.com.