creative writing Archives - Trisha Sugarek, Author, Playwright & Poet

A Good Writer is a Good Observer

A good writer is always observing and watching other people and their interpersonal relationships with others. Relationships are complex and rarely resemble yours. And of course…listening. Everyone speaks differently, with a different word choice and a varied cadence to their speech. This can translate to your writing and add another layer of ‘flavor’ to your dialogue.

I also recommend watching movies or series to learn dialogue writing. But, not just the ‘bad’ movies, poorly written, poorly directed, and poorly acted. Watch the good ones too…ones you liked.

I recently was binge-watching an older series, “Six Feet Under“. One which I had loved when it was new and couldn’t wait for each episode to air. I began watching for the simple pleasure of re-watching it. But three or four episodes in, I began to critique it. Especially the character of Ruth; the mother of the Fisher family. She had a hot temper and I am certain that was ‘written’ in for the character. However, the actor, (Frances Conroy) went from 0 to 10 when the script called for temper. There was no layering. At first I blamed the writing…then the director. My final analysis was that the

writing (without seeing the script) was hardly at fault. Or maybe a little bit not having enough blocking written in. Don’t forget, emotion can be written as part of the blocking.

Then I laid some blame at the director’s feet for not noticing that his actor had only two levels; calm and yelling. And the yelling came out of the blue and was all the same. Why didn’t the director catch this? Well, he did have a huge cast to direct and watch over. So mostly the responsibility lay with the lazy actor. An actor who wants to get as much as possible out of a part would look for those layers, subtle though they may be. Ed O’Ross (Nikolai, the fiery Russian florist) was excellent at layering his character’s emotions.

No script or production is perfect. You can watch ANYTHING and learn from it. Same with reading. I’ll give you an example; when I noticed a couple of authors using the same word or phase over and over in their work of fiction, I realized I might suffer from the same curse. My nemeses is the word ‘just‘. My guard dog is the feature (in any word processing platform) ‘find’ or ‘replace’ and I use it to root out the 300 times I used ‘just’. (hahaha)

If you’re a screen writer, visuals are more important than diaglogue. Your blocking can include the silent dialogue. Write in the non-verbal speech of an actor. In ‘Six Feet Under‘, actor, Lauren Ambrose (Claire) and Jeremy Sisto (Billy) were superb with their non-verbal dialogue, using facial and eye expressions and body language. This credit I give to the director and the excellent actors.

When writing stage plays the playwright should keep ‘action’ simple. Write some emotional blocking in but always remember the director is going to have their own thoughts about how the scene should go. Be careful not to do the director’s job for them. It won’t be appreciated.

If you are a screenwriter or writing fiction you probably think you have no interest in theatre. One of your best sourses to learn about writing dialogue is the theatre. Live stage plays are the Mecca of good or bad dialogue. Go there, observe and learn!

Another link on the subject of over-usage of words.
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A Word to Newbie Writers

authors, writers, reviews, famous authors — Charles Bukowski

He was, in my opinion, the greatest American fiction writer of the last half of the 20th century. Fortunately for his book sales, most think of him as the archetypal drunk, misanthropic male pig. Whatever else he was, he was also the archetypal writer, a force of nature who knew exactly what to do to a blank page.

Bukowski attributed so much weight to the single line that it eclipsed the writing philosophy of writing. If the single line was magnificent, the rest would take care of itself. In a 60,000 word novel, the working focus was on the single line. In the sex stories he wrote and sold to skin mags for money, the working focus was on the single line. In a small, immortal poem that 50 people might read, his working focus was on the single line.

Do you possess this kind of love for your words? Well? Do you? Possess this kind of love and respect for your work? Do you respect your craft enough to narrow your focus to the attention of a single line? It’s not easy. It’s not fast. “But this must certainly be a path to immortal (and powerfully influential) writing. If you can stomach it.” Robert Bruce when writing about Henry Charles Bukowski, Jr.
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I’ve encouraged to re-write and delete and edit so much in my blogging you probably want to take a
‘delete’ key to me! BUT! It’s what makes a so-so writer into a good or great one.

Experienced writers know this and value the rewrite more than anything. That’s really when the magic happens.
In a recent interview here with Jo-Ann Mapson, she said, “I love rewriting. Just thank God for it every single day, because that is where good writing pokes its head up.”

A word to you aspiring writers: I’ve been there, believe me, when I was terrified to delete a single word.
Not that I was certain that everything I uttered was ‘gold’…..far from it….no, terrified that I had nothing better to replace it with. Now that I have found my ‘process’ I understand how I work. I write it in my head for days, then, when the moment comes I type (thank God for my Admin skills of 75 wpm in a previous life). Once the story is laid down, I begin the re-writing, editing, adding, deleting.

Re-writing and deleting: some of my best work has been born in the re-write. Some of my worst work has been deleted. Get it?

The Delete key: I know, I know, I’m a tired old record. But it can’t be said enough. Get to know and love your delete key. Every word you write isn’t going to be ‘golden’. Before you push your child (story) out into traffic (the world) you are the only critic and editor in the room. Be certain that you critique yourself; keep polishing, keep editing.

I’m of the school of writers that believes my work is never finished; I could and have found something to re-write in everything I have published. It’s a demon I have to live with.

The Mocking Bird by Charles Bukowski ©

The mocking bird had been following the cat
all summer
mocking, mocking, mocking

Teasing and cocksure;
the cat crawled under rockers on porches
tail flashing
and said something angry to the mocking bird
which I didn’t understand

Yesterday the cat walked calmly up the driveway
with the mocking bird alive in its mouth
wings fanned, wings fanned and flopping
feathers parted like a woman’s legs
and the bird was no longer mocking… (from his book of poetry: The Pleasures of the Damned)

Reprised from post 3/2013 writeratplay.com
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Strong Writing vs Sloppy, Weak Writing

Dear fellow writers,

The one thing that gives me hives faster than nettles, hives, or food allergies is SLOPPY TENSE by a writer!

I am currently reading a book (Spinning Jenny) that could have been an excellent story, could have been pretty good writing for a debut book, and could have some well-thought-out and developed characters except for the writer (Sylvia Ann McLain) who wrote the entire thing using the present tense. Then slipping into past tense and frequently mixing the two. (Grrrrr….teeth gnashing.)

Here’s a sample, quoting from the book: “Children race about, babies are wailing, and clusters of women talk among themselves. Some sit by themselves with Bibles in their laps. Farther off in the woods, blacks (did they use this term in 1833?) have set up their own camps; their tents are made of quilts thrown over ropes between the trees.”

Edited: Children raced around, babies wailed, and clusters of women gathered to talk amongst themselves. A few sat by themselves with their Bibles in their laps. Further off into the woods Negroes set up their camps. Their tents were made by throwing quilts over ropes tied between the tree trunks.

and: “But back at Carefree, there’s a body waiting for her to view it. She dreads it as she drives up the hill to her home. A body! Has she ever seen a dead person before? Not that she remembers. Why can’t Sophronia get up out of her bed and do something for once? But it’s getting on to twelve o’clock. She has to hurry.”

Edited: A body waited for her to view back at Carefree. Stephanie dreaded it as she drove up the hill to her home. A body! Has she ever seen a dead person before? Not that she remembered. Why couldn’t Sophronia get up out of her bed and do something for once? But it was close to noon. She had to hurry.

I like to use italics for internal dialogue but it’s not a rule. What is a grammatical rule is “i.n.g.’ ing” every other word is poor writing no matter how you look at it.

There is no rule set in stone somewhere that fiction must be written in the past tense. But it is the accepted and expected tense that 98% of writers use. More importantly, readers expect it even if they are unaware.
99% of the time, if a book is written in anything other than past tense, it has not been written that way on purpose; the writer is new, and the book is their first one, and they are ignorant of what is expected and what the industry standard is. It makes them look like the amateur that they are.

PS. Finally. Finished it. This book was a real slog. And then to find out the ending was a setup for a sequel. The storyline didn’t support that. Ugh!!!!!!

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Interview with Historical Romance Author, Mimi Matthews

Bestselling author Mimi Matthews writes both historical nonfiction and award-winning proper Victorian romances. Her novels have received starred reviews in Publishers Weekly, Library Journal, & Booklist, and her articles have been featured on the Victorian Web, the Journal of Victorian Culture, and in syndication at BUST Magazine. In her other life, Mimi is an attorney. She resides in California with her family, which includes a retired Andalusian dressage horse, a Sheltie, and two Siamese cats.

Q. Where do you write? Do you have a special room, shed, barn, special space for your writing? (please provide a photo of you at work in your shed, room, closet, barn, houseboat….) Or tell us about your ‘dream’ work space.

MM. I mostly write in bed. This is owing less to laziness than to a cervical spine injury I suffered several years ago. My neck requires lots of propping and support to keep it from flaring up. My room is wonderfully bright and spacious, though, with high ceilings and lots of big windows. I have built-in bookcases filled with history books, law books, and all my favorite novels. I also have a capacious secretary desk, which I don’t use as much as I should. One perk of writing in bed is that my cats and dogs all pile in with me. They’re basically my co-writers.

Q. Do you have any special rituals or quirks when you sit down to write? (a neat work space, sharpened #2 pencils, legal pad, cup of tea, glass of brandy, favorite pajamas, etc.)

MM. I have no quirks, rituals, or writerly affectations. My process consists of opening a word document on my laptop. Of course, peace and quiet helps tremendously. And diet Cherry Pepsi, too, if I can get it.

Q. Could you tell us something about yourself that we might not already know?

MM. I love to travel but hate to fly. In the past, I used to master by fear in order to go to the places I wanted to go. Now however, I’m not sure I’ll ever fly again. Even thinking about it makes me anxious. The last time I was on a plane it had to make an emergency landing. There were firetrucks waiting for us on the runway. That may have been it for me.

Q. What tools do you begin with? Legal pad, spiral notebook, pencils, fountain pen, or do you go right to your keyboard?

MM. I start with my laptop. That’s pretty much it.

Q. Do you have a set time each day (or night) to write?

MM. I like to start by 1pm. Ideally, I start earlier, but 1pm is my “do or die” marker.

Q. What’s your best advice to other writers for overcoming procrastination?

MM. For me, some days all it takes is opening a word document. Once I have the document in front of me, the words often come. If not, it helps to reread the last scene I wrote. Writing sprints can also help if I’m really feeling reluctant.

Q. Where/when do you first discover your characters?

MM. I always begin a story with an idea of them, even if it’s just a vague one. As I write and research, they become fully formed in my mind. I’m a pantser, not a plotter, so am accustomed to discovering things as I go.

Q. What first inspired you to write?

MM. When I was very small, I used to tell stories to my mom. She encouraged me to write them down. It was a personal exercise, done more for my own amusement than with any view to being a writer one day. I’m not sure I even understood what a novelist was.

Don’t miss the conclusion.
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Funny Senior Moments

I have a few gripes as I grow older and thought I would probably have an audience that can relate!

1. Please! No child-proof caps on my medicine bottles….these old hands cannot open them.

2. Whenever I say ‘thank you‘ to anyone under 50 the answer I get is ‘no problem‘. What happened to ‘you’re welcome’? ‘No problem’ implies that whatever they did for me to incite a ‘thank you’ might have been a problem for them.

3. Change in driving habits: decades before we put a name to yelling, flipping someone off, etc., it wasn’t road rage….it was freedom of speech. In my twenties, I went so far as to make a plaster mold of a hand flipping ‘the bird’ so I could wave it out my window! Now? I am a meek and courteous driver…you want to beat me to wherever you are going….be my guest!

4. Even though the population is getting older and older we still don’t garner any respect from the younger generation. Ageism is alive and well in this country. Tip: From my stints in the hospital this year I learned something very important. DO SOMETHING to make the staff at the hospital notice you (in a good way). Show them that you are a human being worthy of their care. My idea (and it worked!) was to take the day and night shifts copies of my books. I instantly became a celebrity and I swear I received better care.

5. People who drive for miles with their directional signal on…..their music is so loud that they can’t hear the clicking the signal makes, or they are busy on their phones and they are oblivious to everything else.

6. People who talk too fast…..you know what I tell them? “You’re talking faster than my ears can listen…would you repeat that last bit…and slower?”

7. Work ethic…….where the heck did it go? These young people say they can’t find a job…….oh really?……….there’s lots of minimum wage jobs out there and that can lead to a ‘non-minimum’ paying job. But what do I know? One of my first jobs was waitressing in a cafe at $1.00 per hour. Yep, after working 40 hours I came away with a paycheck of $40. less taxes and was GRATEFUL for the job.

8. Only one thing I like better than paper post-it-notes and that is the electronic ones. At my age if it isn’t on a post-it, it doesn’t exist and therefore doesn’t get done!

9. Drivers: So I’m driving on a four lane, city street, and up ahead someone is stopping to turn left….I have plenty of room to change lanes and use the outside lane to get by. Wrong!! The driver had stopped in his lane, and as I passed I see his right-turn signal on. He turns right across two lanes of traffic and into a driveway. Warning: If you come to Savannah, beware of the drivers…….they are the worst I’ve ever seen.

10. Tupperware! After some 40 years the lid on one of my Tupperware bowl cracked. (I wonder how healthy it was to keep using the plastic storage bowls that long.) So my new bowls arrived …..yes the company is still producing Tupperware bowls. The lids are different but the colors are so much more fun!

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Adapting your Stage Play into a Novella or Storybook

Many of my stage plays have ended up being the story outline (or more) in creating a children’s story book, or a short story, or a novella, or the bones of a novel. I thought that I would share, with my readers and fellow playwrights my process in converting these plays/stories.
The demand really began with my friends and fans insisting on more of the story they’d read or seen in a play. It wasn’t enough. Satisfyingly, they wanted to know what happened after the play ended, or they wanted to know how my characters got to where they were in the play’s timeframe.
Currently I am adapting my latest children’s play in to a story book. A chapter book with colored illustrations.

First I pull up the full script. I re-read it in sections to get immerse, once more, in the story. The blocking will be my guide on describing the ‘action’. I will be certain to describe each character as they appear in the story. Something you can’t do writing a stage play. After I read this section of the play, I begin to describe the characters, the environment, the emotions within the scene. Remember, playwrights, you are now free to write as much description as you want. (But don’t be redundant or boring, please.) I copy and paste the section of the play script into my new manuscript. Then I write above the scene in the play. I am able to use almost all of the dialogue that I have created in the play. After I have written the new work I delete the play script and go on to the next. Here’s a sample:

Chapter 1 ©

Agnes and Annie, sister Aardvarks, stepped off the path into the forest clearing. Except for the occasional rustle in the underbrush and bird song it was a quiet, sun-filled idyllic setting. The smells of forest; tree sap, damp moss, rotting tree trunks, and hidden flowers filled their busy noses. It was worlds away from the dusty deserts in their homeland of Africa. They both looked around fearfully. The fanciful hats atop their heads bobbled in the breeze.
“I think we’re lost, dear sister.” Agnes moaned.
“This doesn’t look anything like the pictures of Australia in our book.”
“Oh, dear, I’m quite afraid,” Annie whispered.
“Whooo?” Something said from high atop a tree.
Annie rushed closer to her sister, “Ekk. What was that?”
Annie had always been the shy Aardvark. Her sister, Agnes had always been the bold one, leading the way and protecting her younger sister.
“Who?” Came the cry again.
“What?” Agnes demanded, looking up into the tree where she thought the sound was coming from. “There are so many trees, all mashed together, I can’t tell where the creature is, Annie.”
“Who?”
“That.” Annie cried.
“What?” Agnes demanded.
“I can’t see anything.” Annie said. “What do you suppose it is?”
“Not certain,” Agnes replied. “But keep a look out anyway.”
“I don’t like this place, Agnes.”

ACT I © (The section we are adapting.)
Scene 1

At Rise: Morning in the fabled forest. Pale sunlight filters through the trees.

(ANNIE and AGNES enter. THEY cross into a clearing, looking all around. THEY are wearing ridiculous hats and are carrying suitcases and a book entitled Australia. The WOODLAND CREATURES scatter into the underbrush.)

AGNES
(Gazing up into the trees, HER nose switching as fast as possible.)
I think we’re lost, dear sister. This doesn’t look anything like the pictures of Australia in our book.
ANNIE
(Frowning.)
Oh, dear, I’m quite afraid.

STARE

Whooo?
ANNIE
(ANNIE runs over to AGNES.)

Ekk. What was that?

STARE
Who?

AGNES
What?

STARE

Who?

ANNIE
That.

AGNES

Not certain. But keep a look out anyway.

ANNIE
I don’t like this place, Agnes.

AGNES

You’re such a scaredy-cat, Annie. It’s a simple forest, much like the jungles of home.

(DONALD, a fairie, enters whistling a merry tune. HE sees the Aardvarks. AGNES and ANNIE turn to run.)

DONALD

Don’t go. I mean you no harm.

STARE
Who? Who?

PATSY
(Knitting her web very fast.)

Eye–eee! Por favor, who are these ugly newcomers? Dios mío, ¿se comerán mis insectos? The bugs are for me and me alone!

You have your character list to refer to so you don’t forget or leave out a character from your play. In the story books, I always use an illustrator to bring the story alive with their wonderful color drawings based upon the scene I chosen. I try, as much as possible, to give the artist full rein; hoping that they will be inspired by the writing. That approach has been very successful for me. Here’s another sample of adapting a section of my play:

© A couple of days had passed since Emma had visited the clearing in the forest. She and Donald had still not solved the problem of helping Annie and Agnes on their journey to Australia. There suddenly came some rustling of the undergrowth and Stare, the owl began to hoot.
“Who? Who? Who?”
“What’s wrong, Stare?” Emma peered up through the leaves and branches trying to see the owl.
“Whooo?”
From the path a man stumbled into the clearing. He wore work clothes, suspenders and a bow tie. A tool belt hung from his waist. He carried a large tool box. He walked to the middle of the clearing and made a courtly bow.
“Greetings from the Royal Court.”
“Oh my.” Emma murmured.
Donald stepped forward a couple of paces. “Greetings to you. Who are you, sir?”
“Who?” Asked Stare.
“Who might you be, young sir?”
“I’m Donald, a fairie of this realm.”
Taking his half-glasses off his nose he polished them with a clean, white handkerchief, “Blimey. Don’t think I’ve ever seen one before.”
“And you, sir?”
“Who?”
“Not now Stare.” Donald glanced up.
“Allow me to formally introduce myself. I’m Sir Fergus, the royal engineer. I’ve been sent here by the⸺”
Emma sighed, “The Queen.”
“Our Queen.”
“Who?” Stare asked.
“Who?” Annie asked.
“What’s a queen?” Agnes asked.
Cheets began running around the clearing, “The Queen! The Queen! The Queen Cometh!”
Sir Fergus looked around, “No. I don’t think so. It’s just me with my toolbox.”
“Why have you been sent to us, Mr. Fergus?”
“The name’s just Fergus, Miss. Or at court, Sir Fergus.”
“And you’re here because⸺?” Donald inquired.
“To repair your portal⸺time machine⸺of course. It is broken, isn’t it?”
“Our portal?”
“We have a portal? Cheets whispered in awe but having no idea what a portal was. “What is a portal, exactly?”
“And the Queen knew ours is broken?” Emma asked.
“Yes. Yes. Indubitably.” Fergus became impatient to see it, “If you’ll just show me the way, I’ll begin my work.”
“I’m afraid we have no idea where it might be in the forest.” Emma explained. “Until the sisters arrived we didn’t know anything about a portal. They arrived from Africa.”

ACT I ©
Scene 5

At Rise: The clearing in the forest.

(FERGUS, the royal engineer enters from the forest path. HE wears formal clothes but with a large bow-tie and a pocket protector in his shirt pocket. HE carries a large toolbox.)

FERGUS
(Sets down toolbox and bows.)
Greetings from the Royal Court.
EMMA
Oh my.
DONALD
Greetings to you. Who are you?
STARE
Who?
FERGUS
Who might you be?
STARE
Whooo?
DONALD
I’m Donald, a fairie of this realm.
FERGUS
(Takes his half-glasses off and polishes them.)
Blimey. Don’t think I’ve ever seen one before.
DONALD
And who are you, sir?
STARE
Who?
FERGUS
Allow me to formally introduce myself. I’m Fergus, the royal engineer. I’ve been sent here by the⸺
EMMA
(Sighing.)
The Queen.
DONALD
Our Queen.
STARE
Who?

AGNES
Who?
ANNIE
What’s a queen?
CHEETS
(Jumping up and down.)

The Queen! The Queen! The Queen Cometh!

FERGUS
(Looking around.)
No. I don’t think so. It’s just me and my toolbox.
EMMA
Why have you been sent to us, Mr. Fergus?
FERGUS
It’s just Fergus, Miss. Or in more formal settings, Sir Fergus.
DONALD
And you’re here because⸺?
FERGUS
To repair your portal⸺time machine⸺of course. It is broken, isn’t it?

Your play script can grow into something much more ambitious than a novella or children’s story. I have written three full length novels using my stage play as the story outline.
Please leave your comments if you found this informative and helpful.
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Revise, Edit and Re-publish

My first novel was written in 2011. Being known as a playwright, I was urged by friends and fans to expound on the play by the same title. They were left unsatisfied by the play (even though it was a thumbnail of the story and quite successful on the stage.) They wanted more. What happened to the three women in the story?

Writing a play is child’s play (pun intended) for someone like me. After all I’ve read thousands of play scripts and portrayed hundreds of characters from other plays, not my own. One hundred pages is a walk in the park. But 300+ pages of a work of fiction. A Novel. I still remember the day I sat at my keyboard and faced the blank page 1. I was scared out of my mind. Thank the stars I had a story plot and the stage play to refer to.

Now, eight years later I brought it out and dusted it off. (Remember I’ve written about this before.) The first thing I do is check for my personal idiosyncrasies when writing: those words we all use too much. Mine are ‘just‘ and ‘that‘. So I checked the first one. 264 ‘Justs‘ and I only needed about 28 of them. So I went through the manuscript and deleted a couple hundred. Ugh.
Now, let’s see about the second word. ‘That’. 723. Oh dear!

Several years ago I was reading one of my favorite authors (when I’m not writing, I’m reading) and something was irritating me in the back of my consciousness, a little niggle.

Then I realized the author repeatedly used the word ‘snickered’ or‘ snicker‘ when describing the tone of the dialogue. (Let the dialogue set the tone.) I doubt the author was even aware of it. ‘Snickered’ was exactly the same as my ‘that’. There’s a whole slew of synonyms for ‘snicker’ (she could have mixed it up) Scorned, scoffed, mocked, derided, sneered, snorted, etc. Once I discovered the culprit of my irritation, I couldn’t unsee the word and it spoiled the story for me. I put the book away, unread.

Technical Note: For those of you who don’t know how to find a word used to excess: Use the keys ‘Control F’; a box will open. type in the word that you might have used too much. It will tell you how many times it was used in the ms. And the word will be highlighted in yellow so you can easily edited them.

So whenever you edit, clean up and revise an older work you will get a better story out it. You will achieve better writing. You may even find a new chapter or two.

“The difference between the almost right word and the right word is really a large matter. ’Tis the difference between the lightning bug and the lightning.” ― Mark Twain
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Improve Your Creative Writing Skills

Adam Durnham shares his article on improving creative writing skills with us.

How to Improve Your Creative Writing Skills
by Contributing Writer, Adam Durnham

Creative pieces are usually meant to entertain, but since readers often want more than mere entertainment, they expect literary pieces to challenge the mind and tickle the imagination. For some, writing or reading literary pieces could also be a form of art therapy.
Though these standards are quite simple, they may put more pressure on writers. The more advanced readers are, the higher the standards they set for the authors’ literary pieces.

Here are four tips that can help people improve their creative writing skills:

Do not underestimate your readers’ ability to understand and imagine

Leave room for your readers to imagine the backstory, the motivation of the characters, and the exposition (the elements that explain the story). You don’t have to reveal all of these in graphic detail all at once. You can give clues or foreshadow some events in the story, but be careful about revealing every element at the start of the piece. Let your readers use their imaginations and formulate theories.

Identify the key points of your story, specifically taking note of the following:

i. What is the main goal of your protagonist? Try to create a protagonist who is interesting or unique in some way.

ii. What are the relevant actions your protagonist takes towards the completion of his or her goal? The protagonist of the story could make conscious decisions that drive and direct the entirety of the story.
iii. What are some unexpected outcomes of the protagonist’s decision(s)?
iv. What are some details related to the literary piece’s setting, tone, and dialogue that can help you reveal the story to the readers?
v. What is the climax of the story?
vi. Will readers find any morals from the story?
vii. How will the story end?
Pay attention to character development
To create realistic, multifaceted characters, it is important to understand and describe characters. To help you develop your characters, consider examining one or more of the following details:
● Name
● Age
● Appearance
● Family and relationships
● Ethnicity
● Drinking habits
● Likes and dislikes
● Strengths and faults
● Illnesses
● Hobbies
● Pets
● Phobias
● Religion
● Job
● Residence
● Sleep patterns
● Nervous gestures
● Secrets
● Memories
● Temperament

Including such details can make it easier to define your characters. They can help you mold your characters, build storylines, and create dialogue. You might want to consider

● Appearance: Create a visual understanding for your readers so that they can vividly imagine what the characters look like.
● Action: Instead of simply listing adjectives to define characters, describe the characters’ actions to tell your readers what the characters do and what they’re like.
● Speech: Don’t kill the story’s momentum by explaining the plot in great detail. Instead, try to reveal the plot through your characters and their dialogue.
● Thought: Show your readers how your characters think. Show them the characters’ hopes, fears, and memories.
Create a great plot
A story plot tells us what happens in the story. Writers establish situations, identify the story’s turning points, and determine the fate of each character.
Plots are the sequence of events arranged by the writer that reveal the story’s emotional, thematic, and dramatic significance. To create a great plot, it is important to understand the following elements of the story:
● Hook: The stirring or gripping problem or event that catches readers’ attention.
● Conflict: A clash between characters and their internal selves, or between different characters, or even between characters and external forces.
● Exposition: The backstory or background information about the characters and how this background information relates to the rest of the story.
● Complication: A problem or set of challenges that the characters face that make it difficult to accomplish their goals.
● Transition: Dialogue, symbols, or images that link one part of the story to another.
● Flashback: Something that occurs in the past, before the current events of the story.
● Climax: The peak of the story.
● Denouement: The story’s falling action or the release of the action that occurs after the climax.
● Resolution: The solution of the external or internal conflict.

Writing can be challenging if you don’t know the techniques. It can be a form of art or art therapy if you come to master it. Techniques and tips can help you build the literary skill you need. Practicing them can give you the experience to produce creative, well-crafted work.

Did you miss my post on how to Format a Novel?
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! October: George Scott, November: Ella Quinn, December: Lauren Willig, January: Madeline Hunter, February: Mike Lupica
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Motivational Moments…for Writers! #33

Lillian Hellman said, ‘If you hope to be any good, nothing you write will ever come out as you first hoped.’ It is true and if you are truly lucky it will happen to you.

For example: In the play script version of Women Outside the Walls, the story ends with Joe dying on a cold prison floor. And later, this was where I had planned for the novel to end too. IF I had not been working closely with a woman who had ‘stood by her man’ for 15 years while he was in prison. Shortly after he was paroled,

her son received 13 years for manslaughter. She had been there, done that… times two! After SK (the woman outside the real prison walls) read the last pages, she looked up and asked: “What happened to Charlie? To Alma?”

‘Huh?’ I replied. Did someone actually care about these two antagonists? As it turns out, yes they did. Charlie and Alma, in spite of their wrong doings, their narrow beliefs, and their ignorance were endearing and readers really cared.

I’ve said it before, be open as a writer.

“Fiction is about everything human and we are made out of dust and if you scorn getting yourself dusty, then you shouldn’t try to write fiction.
It’s not a grand enough job for you.” ~~ Flannery O’Connor

“Learn the rules like a pro, so you can break them like an artist.” ~~ Pablo Picasso

“Be courageous and try to write in a way that scares you a little.” ~~ Holley Gerth
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MY BLOGS feature INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? In August we said ‘hello’ to Cheryl Hollon. September: Dylan Callens and October’s author will be Donna Kauffman.

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How to Write a Novel….the writing Process!

……is there a wrong way??

NO! There is no ‘wrong’ process when writing your story….but, as I and other authors (I’ve interviewed here on my blog) have stressed….be certain that you HAVE a process.

1. Write about what you know. If you are a beginner…and we all were at one time…write a story about something you know or have had first hand experience with.

2. If the idea of writing a novel (75,000+ words) is way too daunting, write a short story (3,000 words) or a series of short stories. Write a novella. (16-25,000 words). After writing three full length novels, I decided that my mystery series The World of Murder would be short novels. I didn’t run out of story, I just believe that there is a market for short novels (24–35,000 words).

3. If your subject is something that you know nothing or very little about the Internet is a powerful tool. Let me give you some examples: My aunt ran away to Alaska in the 1920’s to homestead. I knew her story but I knew very little about Alaska at the turn of the last century. What did Fairbanks look like then? It was little more than a trading post. How many acres did you get when you homesteaded? 80. What tribe of native Alaskans were in my story-area and what language did they speak? Were there hunting ‘tags’ or seasons for hunting in those days?

Another example are my murder mysteries that are heavy on police procedures and crime scene investigation. I know a lot but certainly don’t know everything. Between the Internet, local law enforcement and the Medical examiners, I have pretty much everything I need in the way of research. Book #4, The Angel of Murder is about the Catholic religion and confession. I am not a Catholic so I called my friend’s priest, Father Gabe, and he was incredibly kind and helpful. DON’T BE AFRAID TO ASK FOR HELP! I asked a private detective and a priest, BOTH STRANGERS, and they gave willingly of their time and knowledge.

4. What if my writing process is wrong? NO! There is no wrong process. Just be certain that you have a writing process. Whether it’s with meticulous outlines and story notes or just writing from your gut. My personal process is this: An idea forms and begins writing itself in my mind. I joke about ‘slamming my story down first’. It’s more than an outline (which I don’t use) and less than the finished product. I type 80 words a minute so when I say I slam it down, I mean I slam it down. I frequently write out of sequence. Sometimes the Epilogue is written before the end of the story. Sometimes the prologue is written after the first few chapters. That’s WEIRD’, you say? No, not really, the story such as it is at that point is feeding me. Right now, as I am writing Book #6, The Bridge of Murder, some chapters are un-numbered as I’m not certain where they fit, only that they are part of the story.

5. Have people you trust read your manuscript. They aren’t standing as close to it as you are. But, be certain that they can look at the work and give a constructive critique. When I say trust, I’m not talking about them stealing your work, I’m talking about trusting that they will be honest with you. I have two such people in my circle; one in particular. He is honest and wants the very best for me and out of me.

6. Poor Man’s Copyright: I’ve done this for years. When I have four or five pages of a manuscript completed, I make up a title page, date it and then mail it to myself. When you get it back in the mail, be certain you DON’T open it. Just tuck it away in a safe place. Courts (if it ever came to that) will honor the post marked and unopened envelope. Of course you have saved the date of the saved draft of the first time you worked on it in your computer.

7. Re-write, re-write, then re-write some more! Read your work over and over. You don’t have to read it from start to finish….that will make your eyes cross and make you want to give up. Read sections, edit, re-write, make it as good as you possibly can.

Want to learn more about developing rich and interesting characters? Want to try writing a little poetry or a Haiku? Want to learn more about that all important ‘first sentence’ of your story? Check out my Creative Writer’s Journals. There are six ‘how to’ sections and 275 pages of lined, blank pages for your writing.

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