Musings

April 2006 / Volume 3, No. 4

A Bit of Inspiration:

“Better to write for yourself and have no public, than to write for the public and have no self.”

Cyril Connolly

From the Heart:

I’m often asked, “Why do you write?” Because it’s my passion. Because I have a story to tell. Because I would be incomplete if I didn’t write. I write for myself, first and foremost. Yes, I admit that I would love my books to be recognized globally and I be duly compensated for it. However, until that day, if ever, I continue to write with passion for me. When my first novel, “Gianna,” received national recognition for book-length fiction, it grew my “public” into a small fan base who now seeks more of my writing. Yet, I still write to satisfy my needs first. My selected genre “romance” doesn’t equate itself with Pulitzer Prizes, but I love a good love story, and I continue to incorporate that element into my writing . . . for me. You must be true to yourself, for only then will your writing bring you true happiness, and that is worth more than any Pulitzer Prize, in my opinion.

Talking Technique:

Foreshadowing, like flashback, is a necessary component of good fiction. However, the difference between the two elements is that foreshadowing is usually done without much thought. Mystery and suspense writers do it purposefully. However, writers most often don’t even realize the hints they drop as the story progresses. Foreshadowing is a subtle tidbit of information that, if the reader picks up on it, will indicate some future revelation or event. A rainy day, a cracked mirror, a nagging pain in the arm, a mention of a fear of heights—these could all foreshadow an upcoming scene in your story. Foreshadowing is layered into the story delicately, like a sprinkle of salt into a pot of stew. Only the most aware will realize what you’ve done. Most readers will delight after the fact in your cleverness. Remember, you are the writer, you are omniscient, so have fun being the prophet for your story.

The Business of Writing:

The synopsis . . . or as I like to refer to it: the dreaded synopsis. I absolutely hate writing the synopsis, and I have yet to meet a fellow writer who enjoys this undertaking. Condensing my 80,000-word, lovely written manuscript into a few sparse paragraphs, omitting all of my loveable minor characters, interesting subplots, and witty dialogue, leaves me with a skeleton—not very appealing . . . at least not on the first draft. But I know the importance of a well-written synopsis for selling my manuscript, and so I work diligently to write the best, most captivating summary of my book. Here are some general guidelines to follow:

Format your synopsis like your manuscript: one-inch margins, Courier or Times New Roman font, 12 pt pitch, running header with the title of the book flush left, and author last name and page number flush right. Begin the first page with your contact information (name, address, phone, email, website), restate the title of the book, word count, genre (and sub-genre), followed by a powerful opening line similar to those you read on bookmarks and in bookseller/literary magazine advertisements. The remainder of the synopsis is a chapter-by-chapter summary of your book (1-2 paragraphs per chapter), detailing only the main characters, the plot devices and conflicts surrounding them, and the ultimate resolution of the story. Remember that less is more, especially in the time-constrained world of agents and editors.

When asked about double or single spacing, I advise double-spacing unless you have specific guidelines limiting your synopsis to, say, three pages. Furthermore, I suggest that every writer keep a one-page synopsis on hand for those happenstance meetings with an agent or editor (at a conference, in an elevator, on vacation) when you can casually pitch your book and then hand them a sheet to remember you.

The bright side to writing a synopsis is that it will reveal flaws in your plot. Once you reduce your story to bare bones, it’s easy to see other key elements such as full character development, conflict and resolution, theme, and symbolism. After you sell your first book, most authors sell the remainder of their works by writing the first chapter (or three chapters) and a synopsis, and this summary serves as a creative outline in the development/writing of the story. Moreover, the synopsis will help you later write the book jacket for your novel; and with the time between sale of your book to the press date being months and sometimes years, having that concisely written summary of your manuscript at your fingertips will make you happy you did a thorough job.

Next Meeting:

(I’ve posted the 2006 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

May 7, 2006

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Personification . . . giving life to inanimate nouns
Titles . . . the importance of selecting the perfect title for your work
Guest Speaker. . . Tim Harper (www.TimHarper.com) discusses writing & publishing

NOTE: Some members of the group are looking for a more in-depth critique for longer passages than the one-to-two page guidelines we’ve been following at the meetings because of time constraints. If you want to bring 2-5 copies of your scene or chapter, you may pass them out to volunteer critiquers in the group, and they will return the critiqued material to you at the following meeting (or you may provide them with a SASE or email address for a quicker response).

A Glance at Grammar:

Reminder: I have posted on my website, www.Mary-Jo-Holmes.com, a page titled “Writing Grammar” that gives a very brief outline of the most common grammar and punctuation usage. For more in-depth instruction, consult Elements of Style or The Chicago Manual of Style.

Conferences:

I’ve added a Conference section to the Links page on my website, www.Mary-Jo-Holmes.com, where I’ve posted information about upcoming conferences. If you would like your conference added to this section, please email me the information.

Associations:

The National Association of Women Writers provides support through newsletters, teleseminars, and conferences, as well as offers a network of women writers. Visit www.NAWW.org for more info. I am the NY/NJ Regional Representative of NAWW, and offer mentoring via email (lovemyfiction@aol.com) for NAWW members.

Musings:

I had a near-death experience in a dentist chair last week. I’m a firm believer that what doesn’t kill you makes you stronger . . . and a better writer. I flipped through my current work-in-progress to the part where my hero believes he is going to die, and I was able to channel my experience through his mind. The end result: a soulful pouring of thoughts and fears that would not have been as real if I hadn’t gone through my own anguish. Everything happens for a reason: love, heartache, surprise, disappointment . . . and maybe, just maybe, it’s happened to improve upon your writing. --Mary-Jo Holmes, Editor

March 2006 / Volume 3, No. 3

A Bit of Inspiration:

"You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you're working on another one. If you have talent, you will receive some measure of success - but only if you persist."

Isaac Asimov

From the Heart:

Fear keeps us from doing a great many things. With writers, it’s fear of rejection that most often keeps us from querying agents and editors. We all want to be loved; we want our children to be loved; and we want our stories to be loved. The fact that one person has neither the time nor interest to read your submission can send some writers under the covers for days, depressed over an impersonal rejection. And that is the sad fact: most rejections come from those who just didn’t look or look deeply at your prose. So, what’s a writer to do? Keep a strong support group. Continue to query. And never stop believing in yourself and your talent. Remember that J.K. Rowling was rejected several times before someone saw the value in Harry Potter!

Talking Technique:

Show Don’t Tell . . . we’ve all heard this advice from anyone who’s anything in writing. Creating characters (whether human, animal, inanimate, monster, alien) that your readers believe in, sympathize with or despise, and remember long after they finish reading your story remains every writer’s goal. Character development begins with a character sketch of physical, emotional, and behavioral traits. You don’t need large passages of description to bring your characters to life. In fact, it’s imperative that you show (don’t tell) by using dialogue, introspection, mannerisms, relationships, and actions to sculpt your characters’ personality and their opinions, self-image, values, and beliefs. Protagonists need to be likeable, and villains must have credible motivations. What they do, how they do it, what they say, what they think, how other characters perceive them—all factor into believable, breathing characters.

Remember to avoid passive linking verbs and commonplace verbs, be sparing with your adjectives, and use dialogue and action to tell the story. If you’re proactive in your sentence development, you’ll strengthen your writing and ultimately achieve great reader reaction.

The Business of Writing:

What’s a Sell Sheet and who needs one? A sell sheet is a marketing tool for published writers. If you haven’t achieved the success of Nora Roberts or Stephen King, then you’re going to need one to assume some of the responsibility for marketing your book. The sell sheet is an 8.5” x 11” handout that provides all important information about your book. I print mine in color and include a picture of the cover. Other data to include: title, genre, author name, ISBN number, Trade Paperback or Hardcover, publication date, price, size of book, number of pages, distribution info, retail availability, short summary/blurb (i.e. back cover text), author website, author availability, marketing materials available, contact info.

Next Meeting:

(I’ve posted the 2006 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

April 2, 2006

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Foreshadowing . . . dropping hints to create interest.
Synopsis . . . condensing book to summary.
Writing Workshop. . . Bring a current chapter or short story for intense editing.

A Glance at Grammar:

Conferences:

Musings:

Do you fall in love with your characters? I do. They live and breathe in my heart and soul. I cry when they’re in despair, and smile with their triumphs. They each have their own voice and seem to speak without my assistance. They are my friends, and I care about what happens to them. Readers of “Gianna” thought so, too, and wrote me requesting a sequel so that they could continue sharing Gianna and Vincenzo’s love. At this point, I don’t have a sequel in mind; although, I haven’t ruled it out. However, with my current work-in-progress, I love my main characters so much that I’ve decided to write a sequel. Creating realistic, loveable characters should be your focus, and if you’re successful, you’ll find they take on a life of their own . . . and even more wonderful, you’ll enjoy spending time with them at the computer! --Mary-Jo Holmes, Editor

February 2006 / Volume 3, No. 2

A Bit of Inspiration:

"It is in our power to do but one thing, and that is not to distort the living voice of life."

Boris Pasternak

From the Heart:

I believe we, as writers, have a responsibility to portray realism in our writing. Even if the genre is horror, where the villains are completely disconnected from our world, a writer has to achieve believability in crafting the story, to speak “the living voice of life.” It’s nice to twist things around or spice up a scene with something shocking, but when it’s completely out of character or so outrageous that the reader can’t justify the behavior or understand the motivation, then you’ve accomplished nothing but disappointing or irritating your audience. If anyone watches Grey’s Anatomy, you’d have to agree that the writers failed with the final scene in this past Sunday’s episode with Meredith choosing to sleep with George. It was completely out of character, and with no insight into what she may have been thinking or feeling, it diminishes her character as well as her love for McDreamy. In your own writing, remember to preserve the truth in life. That truth will earn you the respect of your readers.

Talking Technique:

Adverbs describe adjectives and verbs. They usually end in “ly” (i.e., quickly, softly). Think of adverbs like salt. A sprinkle here, a dash there. Any more than that will saturate your writing with an unpleasant taste. Except for the adverbs indicating time (i.e., frequently), they usually can be omitted with the use of a strong verb.

For example, Ann said softly that she like the show.

Rewrite: Ann whispered that she like the show.

Use the editing process to eliminate as many adverbs as possible by rewriting the sentence using a powerful verb. Keep in mind, a few here and there won’t spoil the story, but a heaping throughout your writing will label you a lazy writer.

The Business of Writing:

To join or not to join, that is the question. Membership in a writing organization can offer several benefits, such as informative articles or tips on improving your craft, inside information regarding publishers or agents, invitations to writing conferences or workshops, and internet access to data bases or online forums where can seek support or information through a network of peers. As the NY/NJ Regional Representative for the National Association of Women Writers, I have found this group helpful in mentoring writers through weekly newsletters, regional meetings, annual conferences, and monthly teleseminars with industry professionals. Genre associations, such as Romance Writers of America, can provide specific information related to your field or interest of writing from those well versed in that subject matter.

Whatever group you do join, make sure it has a solid reputation and that the benefits offered outweigh the membership dues required.

Next Meeting:

(I’ve posted the 2006 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

March 5, 2006

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Show Don’t Tell . . . tips to improve your writing.
Marketing Your Writing . . . creating a Sell Sheet.
Writing Workshop for Critique . . . Bringing your character to tears. Bring current work for critique.

A Glance at Grammar:

Conferences:

Musings:

What’s your aphrodisiac for writing? I write romance, so what puts me in the mood is classical music, lit candles, and a chocolate bar . . . and sometimes a glass of chardonnay. Whatever it takes to get your pen moving do it. Sometimes a good fight with a spouse or a bad day at work will propel us into writing oblivion. Other writers require a never-ending cup of coffee or a picture of a sandy beach that waits at the end of publishing. I believe every writer has some sort of muse that inspires her to keep pounding those computer keys. What’s yours? --Mary-Jo Holmes, Editor

January 2006 / Volume 3, No. 1

A Bit of Inspiration:

"Planning to write is not writing. Outlining, researching, talking to people about what you're doing, none of that is writing. Writing is writing."

E.L. Doctorow

From the Heart:

Is it me? My jaw is still hanging on the ground over James Frey’s lying in his memoir. Every fiction writer I know painfully fact-checks her writing, the important word being fiction, for no other reason than not to be criticized for inaccuracies. We sometimes travel to foreign destinations just to credibly represent our fictional piece set in that locale. I can’t imagine a writer knowingly falsifying a non-fiction piece. One would think that publishers have several people on staff gainfully employed to check facts of non-fiction manuscripts, especially memoirs and autobiographies that ride the line of memory recall. It seems they don’t. The Smoking Gun was able to uncover discrepancies in Frey’s memoir with little effort. Had the agent or editor made the same effort, Frey’s manuscript would have been red-flagged and inevitably rejected, giving some other deserving writer the opportunity to be published. But maybe this other deserving writer didn’t have such a fantastic story to tell, one that would draw Oprah’s attention. Does anybody care anymore about the truth in writing or has the bottomline and profit-margin forged supreme? Do I have to doubt all non-fiction that I read from now on simply because agents and publishers won’t question an author’s veracity nor make the effort to check the facts? Has truth been sacrificed for the almighty dollar?

Talking Technique:

Chapter endings drive the reader through your story. If you properly end with a hook—an unanswered element that leaves the reader hanging—your work then becomes a page-turner. The reader must know what happens next, so she turns the page, begins a new chapter, gets a few answers, but then finishes that chapter with more questions. What happens next? If your audience is not asking that question, then you need to do some editing to create that interest. Think of chapter endings in the same way you watch a movie on TV. The chapter ending would occur right before the commercial. If there’s not some element of intrigue to keep us watching, we would turn the channel. You may want to end a chapter in the middle of a conversation at the perfect point preceding a revelation or in the midst of action when all appears tragic. There are many clever devices to establish that hook, so make the effort to write them into your story. Inevitably, you’ll create literature that demands the reader’s attention by sparking her curiosity.

The Business of Writing:

Pitching your manuscript in 30 seconds. How do you condense 80,000 or more words into three sentences that will spark interest in your work? Admittedly, it’s not easy, but it’s absolutely necessary. Writers’ conferences and book expos are full of agents and editors, and most often you only have 30 seconds to pitch your book. I suggest reviewing some book brochures or catalogs to see how publishers have captured the essence of a book in a three-sentence blurb. Stick to the main plot only, and lure interest with an element of intrigue. Try writing your own with strong verbs, keeping adjectives at a minimum. Then practice saying it to family and friends until it’s so natural that it doesn’t sound like a pitch at all. Then the next time you’re confronted with the task of describing your book, you won’t be tongue-tied. You’ll appear professional, and your work will draw attention.

Next Meeting:

(I’ve posted the 2006 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

February 5, 2006

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Adverbs . . . why less is better.
Organizations and Associations . . . membership pros and cons.
Writing Workshop for Critique . . . A kiss is just a kiss NOT. Bring current work for critique.

A Glance at Grammar:

Conferences:

Musings:

It’s a new year, and that usually means new resolutions. With a fresh year ahead of you, you can discard bad habits or insecurities that kept you from writing or pursuing publication of your articles or books. You can resolve to write every day, even if it’s just a paragraph. One true sentence, one vivid description that awakes the imagination, one exchange of dialogue that delves inside the characters—this is all you need to propel you to the next sentence or chapter. Make 2006 the year where you finish your story or start a new novel. No more excuses or grand justifications. Make 2006 the year where you write with passion to stir all your future readers’ souls. Make 2006 a year where self-confidence is primary and fear is an obscene four-letter word. Make 2006 a year to remember by creating something of value!

--Mary-Jo Holmes, Editor

November/December 2005 / Volume 2, No. 8

A Bit of Inspiration:

“You must often make erasures if you mean to write what is worthy of being read a second time; and don't labor for the admiration of the crowd, but be content with a few choice readers.”

~ Horace

From the Heart:

How painful is it to strike out a sentence that we had labored over to write. Yet, editing is an important piece to good writing. Write with passion but edit with prudence. That means you have to read over your words carefully, cutting the excess and re-writing when necessary. If you want a piece of literature that “is worthy of being read a second time,” then you may have edit your work many times before you have in hand something of reading value. Believe me, it’s worth the effort!

Talking Technique:

Clichés—overused phrases or expressions--. You’ve heard them; I’ve heard them; just about everybody has heard them . . . so avoid them in your writing except when used purposefully. It’s as easy as pie. (Yes, that’s a cliché.) I came across a unique website, www.clichesite.com, which offers a search tool for clichés as well as categorizes them into the most popular topics. I’m sure there are a dozen other sites with similar tools. There’s also a book, “The Dictionary of Clichés,” to assist in identifying them. As soon as you read them, you’ll know if you’re guilty of using them.

Clichés also come in the form of overused ideas. When you use these, your writing becomes predictable and, thus, boring. Getting left at the altar; the ugly girl makeover that wins her the handsome guy; the underdog who wins the game. Yes, these stories have been written over and over again, but unless you put a special spin on it, no publisher or reader will have interest.

So, is there a time or place to ever use a cliché? Yes, in dialogue. Most often, conversation flows so quickly, that a person can’t catch himself from spitting out a few clichés. This will make your writing believable. Just don’t overdo it.

The goal of your writing should be to create something new, fresh, exciting. Clichés will brand your writing as old, worn, dull. Make yourself knowledgeable of what defines poor writing so that you avoid it like the plague!

The Business of Writing:

Book covers, like titles (as discussed last month), demand an author’s attention. Traditional publishers have a staff of artists willing to design your cover, but the problem is that the artist most likely hasn’t read your book. When that happens, the delivered artwork can be atrocious, not representing the true content of your story. I know. The first design for my book looked with a science fiction shark swimming in some murky water. My book is a love story set in Tuscany! However, I persisted with what I thought would be a classic cover, and in the end, the artist delivered just that. You, too, need to give your book covers the time and attention they deserve.

Readers spend about 10 seconds on the cover before they decide to pick up the book or go on to the next cover. Others tell me that they peruse the shelves looking for a cover that beckons to be “read.” Research your genre to see what’s been done or overdone, what sells and what sits. Sometimes the best way of deciding what you like is knowing what you don’t like. Remember also, that your book cover should be clearly viewable in a thumbnail sketch because that’s how the online booksellers advertise the market.

Cartoon-ish covers suggest comedy or children’s stories. Dark, gothic-like covers hint at mysteries, thrillers, or horror stories. The romance genre, unfortunately, is known for its bodice-ripper covers which gives the impression of a trashy read, but with a more elegant cover, such as the one designed for my novel, “Gianna,” (see pic at www.Mary-Jo-Holmes.com), the love story gains credibility and respectability.

There are no wrongs or rights in book cover design. You need to follow your heart, research the market, then raise your voice and be heard so that the cover design properly reflects the true content of your book.

Next Meeting:

(I’ve posted the 2006 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

January 15, 2006

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Chapter Endings . . . how to get the reader to turn the page.
30-Second Pitch . . . summarizing your book into a one- or two-sentence blurb.
Open Forum for Readings/Critique . . . Bring current work for critique.

A Glance at Grammar:

Conferences:

Musings:

Where do your story ideas come from? With the holidays surrounding you, use it to your advantage by soaking up all the conversation you can. Listen, and you’ll generate working storylines. A bad breakup, a happy reunion, an encounter at the mall, the power-tripping boss at the office—any of it could be a seedling for the All-American Novel. Truth—twisted in a thousand directions—makes wonderful fiction. Enjoy the holidays with an open ear! --Mary-Jo Holmes, Editor

October 2005 / Volume 2, No. 7

A Bit of Inspiration:

"When I die, my epitaph is going to read: 'I joked about every prominent man of my time, but I never met a man I didn't like.' I am so proud of that I can hardly wait to die so it can be carved. And when you come to my grave you will find me sitting there, proudly reading it."

Will Rogers

From the Heart:

If you don’t enjoy reading your own written words, then why expect anyone else to? You must first write for yourself, for your own pleasure, for your own satisfaction, despite assignments and deadlines. If the words don’t come from your heart and sooth your soul as well as put a proud smile on your face, their effects on others won’t be long-lasting.

Talking Technique:

When writing your ending, be your most creative. I love unexpected or thought-provoking endings that make you want to go back to page one and read the story again. Whatever your preferences, be sure to satisfy the reader with a believable resolution. Take your time when wrapping up the story. Don’t do it in one paragraph. Take a chapter or two to resolve the issues and tie up all the loose ends. Most readers will forgive a weak middle plot as long as the ending is powerful. Whether it’s a twist or simply happily-ever-after, be your most creative with your ending, and you’ll have readers clamoring for more of your stories.

The Business of Writing:

An author’s website can be the most valuable tool she has for marketing and selling her work. It seems everyone has a computer or at least access to one, and those in the publishing world are connected 24/7. Having a place where editors and agents can go to learn more about you as a writer and read other articles you’ve written or excerpts from your manuscripts is not only practical but sensible. A website shows your professionalism and seriousness about writing, as well as provides a safe environment where your fans can interact with you.

Investing in a website need not consume your life savings. My website costs less than $200 a year, and that amount includes annual domain name registration and monthly website hosting fees. The first step in building a website is to register a domain name—the web address. Mine is www.Mary-Jo-Holmes.com. Register.com is the most common online registration service for domain names, but there are dozens of others. The dot-com (.com) ending is the most common and, consequently, the most in demand. Try to register a domain name with this ending before resorting to other choices such as .net, .bus, etc. If your name isn’t available (i.e. www.JaneDoe.com), you may want to be creative and try something like www.BooksByJaneDoe.com. Use your imagination but keep in mind that you want a web address that is easy for others to remember.

The next step is finding a hosting company, which makes your website visible on the internet. Note that some hosting companies offer to register your domain name, so you might want to start with this step. The best hosting companies provide unlimited web pages, email addresses, stock images, as well as templates for building the pages. When researching for a good company, you may want to visit other writers’ websites to see what you like and/or ask authors for recommendations. The most economical way is to build your own website using the templates provided by the hosting company, but you can always hire someone to design your site. (I charge $1,000 for this service.)

When designing your website, there are certain pages you may want to include: Home page (welcome page that includes announcements), Bio (author biography, focused more on your writing credentials), Articles/Clippings (published pieces you’ve written), Excerpts (passages from your unpublished manuscripts), “Book” Name (published books where there’s a synopsis, an excerpt, and reviews), Events (listing of personal appearances, booksignings, etc.), Press Room (press releases or other articles written about you), Order Book (instructions or links regarding how to order your published book), Contact (Your email address or publisher’s/agent’s business address. For security purposes, don’t give your home address or home phone number.), Links (web addresses of importance).

Those are the most common web pages on a writer’s website. At www.Mary-Jo-Holmes.com, I have more that involve my writers’ group, publishing news, and other resourceful writing information. Only you can decide what’s important to be listed. Just know that too many graphics or pictures or music will take longer for people to download and open your website. Also, use traditional fonts and make sure your color schemes conform throughout. After you have established a site, be sure to include it in your byline when you publish articles, on the bio page of your published books, on marketing material such as bookmarks, and in your signature line on letters and emails. It’s most important to make editors and agents aware of your site when querying so they can conveniently access more information about you.

Your website is a representation of you, as a writer. Make it professional, and you’ll stand apart from your peers.

Next Meeting:

(I’ve posted the 2005 meeting dates on my website: www.Mary-Jo-Holmes.com under “Writing Group.”)

November 6, 2005

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Cliches . . . the ugly and overused.
Cover Design . . . appealing to the reader with a glimpse inside the story.
Open Forum for Readings/Critique . . . Bring current work for critique.

A Glance at Grammar:

Conferences:

Musings:

I wonder sometimes about alternate endings to books and movies. I enjoy guessing ahead at the outcome and being surprised at the twist the storyline has taken. I also love discussing the “what if’s” with my friends to ponder the power of fate. Had “such and such character” did this instead of that or said this instead of that, what would’ve happened. All this may seem silly, but it actually will help your own writing from becoming predictable if you shake things up a bit and let the pieces fall where no one expected them to. --Mary-Jo Holmes, Editor

September 2005 / Volume 2, No. 6

A Bit of Inspiration:

“A belief is not merely an idea the mind possesses; it is an idea that possesses the mind.”

Robert Oxton Bolt

From the Heart:

When you’re possessed with an idea for a story, you just have to write. You have something to say, and you won’t rest till you’ve said it. So, where do you get your ideas for your stories? A dream, a news report, an overheard conversation, a real-life experience? All of these and dozens more inspire thousands of novels each year. The most important part is taking the idea and building upon it with a strong plot and compelling characters. The best-selling genres, Romance and Mystery, have virtually the same plot in every book (girl/boy fall in love, are torn apart, then reunite; someone is killed or something is stolen, who did it and why?) but what keeps readers buying these books and reading to the end is a fresh spin on the plot and unique/believable characters that the reader comes to care about and route for. Who said writing isn’t hard work? Ideas spark writing, and good writing sparks readers!

Talking Technique:

Creating characters (whether human, animal, inanimate, monster, alien) that your readers believe in, sympathize with or despise, and remember long after they finish reading your story remains every writer’s goal. Character development begins with a character sketch of physical, emotional, and behavioral traits. You don’t need large passages of description to bring your characters to life. In fact, it’s imperative that you show (don’t tell) by using dialogue, introspection, mannerisms, relationships, and actions to sculpt your characters’ personality and their opinions, self-image, values, and beliefs. Protagonists need to be likeable, and villains must have credible motivations. What they do, how they do it, what they say, what they think, how other characters perceive them—all factor into believable, breathing characters.

Lastly, the name (first and/or last) of your character plays an important part in a reader’s impression. Much is assumed by a name: age (Harriet vs. Britney), ethnicity (Gianna vs. Alek Petrofsky), setting (Caesar vs. Sir Henry). Names and nicknames also conjure up stereotypes, so you can use this device for irony or plot twists. In children’s literature, friendly, simple names such as Sam or Max tend to appeal to the beginning reader.

Remember that your characters drive the story and further the plot. Make them credible, and they will come alive and connect with the reader.

More Technique:

Point of view—the perspective from which you tell your story—remains a key element in dynamic writing. The purpose of POV is to engage the reader, have him walk in your character’s shoes, see through his eyes, hear through his ears. Use every sense available to make your character come alive. There are several points of view, and each has special appeal and challenges associated with using it.

Omniscient POV is an all-encompassing perspective (think of looking into a crystal ball). This POV is most effective in prologues or first chapters when the author needs to set the landscape for the story or describe a scene out of chronological order. The challenge with this POV is that the reader remains “outside” looking in, never getting inside the heads of the characters.

First person POV is the narrator telling the story using the pronoun I. This perspective is told either in present tense or past tense and enables the reader to experience the events of the story through the narrator’s POV. Special challenges include limited information filtered through the narrator who cannot know what others are thinking as well as certain trust issues where the reader is forced to see and feel the narrator’s thoughts and emotions. Not to confuse the reader, first person POV is used throughout the entire story; although, there are instances where first person POV shifts from one character to another from chapter to chapter.

Third person POV is the most popular perspective which is told from one (or more) character’s viewpoint. This POV works well within many genres, especially suspense and romance due to the fact that the reader can get inside the head of the protagonist/villain and heroine/hero. The author can manipulate the reader’s emotions by letting them inside the character’s skin. Challenges of this POV are the habit to shift perspective too often as well as to have too many character viewpoints. Limit your POV to the main characters and try to not head-hop within scenes.

The last type of POV is second person which is rarely used in fiction but can be found in non-fiction writing, specifically how-to articles such as this newsletter. The pronoun you indicates this viewpoint.

Mastering point of view will not only engage your readers but also will evoke the responses necessary to make your readers care about the characters and what happens to them. Bonding your readers to your characters is the sure sign of excellent writing.

Next Meeting:

October 2, 2005

12:30 to 2:00 p.m.

Borders Book Store, Interstate Shopping Plaza, Route 17 South, Ramsey, NJ

Topics of Discussion:

Point of View . . . Finding your voice.
Character Sketches . . . As important as the synopsis.
Open Forum for Readings/Critique . . . Bring current work for critique.

A Glance at Grammar:

Conferences:

Musings:

Writing has so many rules, but sometimes you need to put aside the rules and just write. Forget about the do’s and don’ts and let your imagination guide your pen. Be prudent during the editing process, but be passionate during the creative writing process! --Mary-Jo Holmes, Editor

August 2005 / Volume 2 No. 5

A Bit of Inspiration:

“The way is not in the sky, the way is in the heart.”

Gautama Buddha

From the Heart:

A generous heart pours forth love and is a guiding force for most every decision we make and every relationship we enter into whether it be for a nighttime or a lifetime. It’s what we feel inside that gives way to what we do and how we behave on the outside. Don’t deny yourself this one true emotion that plays such an important part in our day-to-day lives. Don’t be afraid to love or share your heart with someone, especially in your writing. It’s the vulnerability and open heart of an author that will seep into the pages and ultimately define you as a quality writer.

The Business of Writing:

Queries may just be the hardest writing you will do. It is for me—that and the dreaded synopsis. Taking a 2,000 word article or 80,000 word manuscript and condensing it into one exciting paragraph within a letter is hard but essential to selling our works. The first step to querying publishers or agents is to research the company for the name, title, and address of the person seeking submissions. Make sure you know their market guidelines and submission preference (email vs. mail). Once you have that information, begin your letter with a hook—the lure of your article or book. Sparking interest in your project will draw the editor or agent to the next paragraph where you summarize the story. Be sure to include the title, approximate word count, the genre and/or sub-genre, whether the work is completed, and if you write under a pseudonym. Then capture the essence of your project with a concise beginning, middle, and end. For fiction writers, deal just with the main characters, their conflict, and plot. For non-fiction writers, mention your target audience and how it fits into the demographics of the magazine. The next paragraph focuses on your credentials, which should include other publishing credits, literary awards, and writing associations. For non-fiction, back up your knowledge of the subject matter with your expertise stemming from education or specific experience. Sell yourself. The final paragraph simply thanks the editor or agent for his or her time and consideration. Keep your query to one page, make sure your contact information appears at the top in a professional letterhead format (no flowery fonts or photocopies), double-check grammar and spelling, and include a SASE (self-addressed, stamped envelope) and any other requested material such as clippings. Queries are the editor's and agent's first look at your writing. Capture their attention, and you're on your way to selling your project.

Talking Technique:

Motivations—why do our characters do the things they do? Many things propel their actions, such as love, hate, greed, revenge, justice, and society. It’s important that your characters have believable reasons to justify their actions. Are these spur-of-the-moment impulses or deep-rooted, plotted objectives? If your story lacks these driving forces, then it will be sluggish and boring. Readers will be unforgiving. Give a lot of thought to who your character is and why he does the things he does. Put extra time into the “why” then look at it objectively to see if the energy released by the character is justified. Behavior doesn’t have to have to be rational but it must be credible and convincing. Only then will you have a story that is compelling.