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Wednesday writing tip: New Agent to consider

New Literary Agent Alert: Linda Camacho of Prospect Agency

Source: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-linda-camacho-of-prospect-agency?et_mid=748601&rid=239626420#sthash.Zwys5wOi.dpuf

Linda Camacho

Linda Camacho

Linda joined Prospect Agency in 2015 after nearly a decade in publishing. After graduating from Cornell University, Linda interned at Simon & Schuster and Writers House literary agency, and worked at Penguin before happily settling into children’s marketing at Random House. She has an MFA in creative writing from the Vermont College of Fine Arts. Follow her on Twitter: @LindaRandom

In terms of submissions, Linda is pretty omnivorous. She enjoys a variety of categories and genres, ranging from clean and lighthearted to edgy and dark. She is currently seeking: Adult, middle grade, and young adult fiction across all genres (romance, horror, fantasy, realistic, light sci-fi, and graphic novels). Select literary fiction (preferably with commercial bent). Diversity of all types (ethnicity, disability, sexuality, etc.). Linda is NOT seeking: Early readers/chapter books, screenplays, poetry, and short stories.

Linda is currently accepting queries through Prospect Agency’s Submissions page: https://www.prospectagency.com/submissions.php. Please include three chapters and a brief synopsis. Do not query by email or letter mail and do not submit unsolicited manuscripts or inquire about the status of submissions via email.

Details at: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-linda-camacho-of-prospect-agency?et_mid=748601&rid=239626420#sthash.Zwys5wOi.dpuf

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Writing tip Wednesday: “Top ten….”

The Top 10 Elements of a Book People Want to Read

by Helga Schier, PhD

Source: http://www.writersdigest.com/online-editor/the-top-10-elements-of-a-book-people-want-to-read?et_mid=733701&rid=239626420

Aim for High Readability

Helga Schier

Helga Schier

People enjoy books with a high level of readability—books with a captivating story and memorable characters, books we can’t put down, books that stick with us long after we’ve read the last word.

As an independent editor, I’ve come across my fair share of readable books, and all of them are well crafted on three distinct but intricately connected levels.

  1. The surface structure of the words on the page, which includes grammar, punctuation, and spelling.
  2. The level of style and voice, which is defined by the choice of words, the sentence rhythm, the use of literary techniques and images, and the tone or approach
  3. The content level, where the fictional world comes to life.

Highly readable books are polished, refined, sophisticated, and mature on all three levels. To fulfill the potential of your book, develop and sharpen the following top ten elements.

1. Your Words Are Your tools; Make Sure They Are in Working Order.
Avoid typos, sort out commonly mistaken words such as die/dye or there/their/they’re. Watch your grammar—make sure your nouns agree with your verbs and the personal pronouns fit. If a paragraph begins in the past tense, it likely ought to end in the past tense, too. Figure out where those commas go to help your readers make sense of your sentences. Sounds basic? It is. So run that spell-check and get it right.

2. Check for Inconsistencies.
Writers revise their work constantly. As a result, characters may appear or disappear at random, because chapters were rearranged; subplots remain unresolved, because chapters were cut; and timeline issues may tiptoe in. Looking for inconsistencies and holes in your story is an integral part of polishing your work.

3. Avoid Overwriting.
Your style or voice should step into the background to serve your story. No need for a clever metaphor in every sentence, or for an adjective before every noun. Avoid complicated sentences if a simple sentence will get your point across. Avoid inflated sentences and unnecessary introductory or summarizing phrases. Don’t be verbose—every sentence has a point; get to it.

4. Avoid Underwriting.
Allow your language to adapt to its context. Using the same words and/or sentence structures repeatedly makes a novel repetitive and monotonous. If the teenage girl and the CEO of a multibillion dollar company have the same voice, we’ll learn more about the writer than about the characters and their relationships. Avoid clichés and create your own personal images instead. Or use clichés and stereotypes to your advantage—say, to define a character.

5. Make Sure Your Characters Are More Than a Name.
As a reader, I want to be able to relate to your characters. I don’t have to always like them or agree with their choices, but I want to understand why they say and do whatever it is they say and do. I want to care for them, fear and worry with them. Therefore, your characters need to be recognizable and unique at the same time. They need to be complex rather than cardboard cutouts, and dynamic rather than passive. Even a bad guy deserves a redeeming quality.

The other five recommendations are:

6. Show, Don’t Tell.

7. Sharpen that Dialogue…

8. …And Expose that Subtext.

9. Drive the Plot Towards Your Reader’s Aha-Moment.

10. Build Your World.

Details at: http://www.writersdigest.com/online-editor/the-top-10-elements-of-a-book-people-want-to-read?et_mid=733701&rid=239626420

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Writing tip Wednesday: “Introductions”

Write Better: 3 Ways To Introduce Your Main Character

by Les Edgerton

Source: http://www.writersdigest.com/online-editor/write-better-3-ways-to-introduce-your-main-character?et_mid=711152&rid=239626420

1. Keep physical description minimal.

A character’s physical description—unless markedly different than the norm—does relatively little to draw the reader in. The character’s actions, or details such as his occupations and interests, are much more useful. The readers will furnish a perfectly good description on their own if you simply let them know that the Uncle Charley of your story is a butterfly collector, or the elderly toll-gate keeper on the Suwannee River. Doing so will accomplish more than 10 pages of describing hair and eye color, height, weight and all of that kind of mundane detail.

My own writing contains very little description of any of my characters—it’s virtually nonexistent—yet for years I’ve asked readers if they can describe a character I pick at random from my stories, and invariably they come up with a detailed description, no matter which character I choose. When I tell them I haven’t ever described the character mentioned, they’re surprised, and some swear that I did, even going so far as to drag out the story and skim for where I’ve included the description. They never find it.

2. Characterize through action.

Bestselling British writer Nick Hornby starts his novel How to Be Good by taking us through his protagonist’s inciting incident, revealed in an action that is contrary to her normal behavior and personality.

I am in a car park in Leeds when I tell my husband I don’t want to be married to him anymore. David isn’t even in the car park with me. He’s at home, looking after the kids, and I have only called him to remind him that he should write a note for Molly’s class teacher. The other bit just sort of … slips out. This is a mistake, obviously. Even though I am, apparently, and to my immense surprise, the kind of person who tells her husband that she doesn’t want to be married to him anymore, I really didn’t think I was the kind of person to say so in a car park, on a mobile phone. That particular self-assessment will now have to be revised, clearly. I can describe myself as the kind of person who doesn’t forget names, for example, because I have remembered names thousands of times and forgotten them only once or twice. But for the majority of people, marriage-ending conversations happen only once, if at all. If you choose to conduct yours on a mobile phone, in a Leeds car park, then you cannot really claim that it is unrepresentative, in the same way that Lee Harvey Oswald couldn’t really claim that shooting presidents wasn’t like him at all. Sometimes we have to be judged by our one-offs.

Wow! Don’t you wish you’d written that? I sure do!

3. Instill Individuality and Depth.

A very different example of establishing the protagonist’s character from the start is found in crime novelist Michael Connelly’s Lost Light:

There is no end of things in the heart.

Someone once told me that. She said it came from a poem she believed in. She understood it to mean that if you took something to heart, really brought it inside those red velvet folds, then it would always be there for you. No matter what happened, it would be there waiting. She said this could mean a person, a place, a dream. A mission. Anything sacred. She told me that it is all connected in those secret folds. Always. It is all part of the same and will always be there, carrying the same beat as your heart.

I am fifty-two years old and I believe it. At night when I try to sleep but can’t, that is when I know it. It is when all the pathways seem to connect and I see the people I have loved and hated and helped and hurt. I see the hands that reach for me. I hear the beat and see and understand what I must do. I know my mission and I know there is no turning away or turning back. And it is in those moments that I know there is no end of things in the heart.

What makes this opening different? Well, it’s by a brand-name author with a sizable audience already in place. Michael Connelly’s books have made the bestseller lists at least 19 more times than I’ve hit a grand-slam walk-off home run at Yankee Stadium as a member of the Bronx Bombers. This means he can write just about any opening he wants and it’s going to get published. It also means that in the hands of a writer without a ready-made audience such as Connelly enjoys, opening with the protagonist’s bit of philosophy might not work, if not done well. It could easily come across as sentimental or self-indulgent.

More details at: http://www.writersdigest.com/online-editor/write-better-3-ways-to-introduce-your-main-character?et_mid=711152&rid=239626420

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Writing tip Wednesday: “Agent for new writers”

Rebecca Scherer

Rebecca Scherer

About Rebecca: Unable to narrow her focus to just one subject, Rebecca Scherer earned her BA from the Macaulay Honors College at Hunter College in Political Science, English Lit, and German language. After several years at the agency, Rebecca now has daily opportunities to put her wide range of interests to use as she actively builds her client list. Find her on Twitter: @RebeccaLScherer.

She is seeking: women’s fiction, mystery, suspense/thriller, romance, upmarket fiction at the cross between commercial and literary

How to contact: Contact her via e-mail: Email Rebecca Scherer. Put “Query: [Title]” in the subject line. Send a query letter, brief synopsis (1-2) pages, and the first three chapters. Please paste the letter and synopsis in the body of the email, though the chapters can either be pasted or attached.

Additional information at: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-rebecca-scherer-of-jane-rotrosen-agency?et_mid=704752&rid=239626420

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Writing tip Wednesday: “An agent interested in new writers”

Kimberly Bower

Kimberly Bower

About Kimberly: Kimberly fell in love with reading when she picked up her first Babysitter’s Club book at the age of seven and hasn’t been able to get her nose out of a book since. Reading has always been her passion, even while pursuing her business degree at California State University, Northridge and law degree at Loyola Law School, Los Angeles. By joining the Rebecca Friedman Literary Agency in 2014, she has been able to merge her legal background with her love of books. Although she loves all things romance, she is also searching for books that are different and will surprise her, with empathetic characters and compelling stories. Follow her on Twitter at @kimberlybrower

Kimberly is seeking: Kimberly is interested in both commercial and literary fiction, with an emphasis in women’s fiction, contemporary romance, mysteries/thrillers, new adult and young adult, as well as certain areas of non-fiction, including business, diet and fitness.

How to submit: Email a query to Kimberly at Email Kimberly Brower. Submit a brief query letter and your first chapter (pasted into the email, not to exceed fifteen double-spaced pages) and for security purposes, do not include any attachments unless specifically requested.

Details at: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-kimberly-brower-of-rebecca-friedman-literary-agency?et_mid=704752&rid=239626420

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Writing tip Wednesday: “MG vs YA”

The Key Differences Between Middle Grade vs Young Adult

Source: http://www.writersdigest.com/online-editor/the-key-differences-between-middle-grade-vs-young-adult?et_mid=685611&rid=239626420

by Marie Lamba (marielamba.com)
author of the YA novels What I Meant…, Over My Head and Drawn. She’s also associate literary agent at The Jennifer De Chiara Literary Agency (jdlit.com)

OK, class. What sets a middle-grade novel apart from a young adult novel? If you said MG is for readers ages 8–12, and YA is for readers ages 13–18, then give yourself a check plus. But if you’re writing for the juvenile market and that’s all you know about these two categories, then I’m afraid you still need to stick around for the rest of this class. A book that doesn’t fit within the parameters of either age category is a book you won’t be able to sell.

In my work with The Jennifer De Chiara Literary Agency, I see my inbox flooded every day with queries for manuscripts that suffer from an MG/YA identity crisis. Like when a query says, “I’ve written a 100,000-word MG novel about a seventh-grader who falls in love and has sex for the first time.” Or when one states, “In my 20,000-word YA novel, a 14-year-old holds her first sleepover and learns the meaning of true friendship.” Both queries would earn a swift rejection, based on both inappropriate manuscript lengths and on content that’s either too mature or too young for the audience they’re targeting. Sadly, by not understanding what makes a book a true MG or a solid YA, these writers have hamstrung their chances for success, regardless of how well written their stories may be. It’s like they showed up to a final exam without ever cracking a book.

One difference between middle grade and young adult is the age of your protagonist. But it is not the only one.

One difference between middle grade and young adult is the age of your protagonist. But it is not the only one.

On the bright side, writers who study up on the many key differences between MG and YA will be able to craft the kind of well-targeted manuscript that will make both agents and editors take notice. Pay attention, because someday your manuscript will be tested.

Mg At A Glance
Age of readers: 8–12.

Length: Generally 30,000–50,000 words (although fantasy can run longer to allow for more complex world-building).
Content restrictions: No profanity, graphic violence or sexuality (romance, if any, is limited to a crush or a first kiss).
Age of protagonist: Typically age 10 for a younger MG novel, and up to age 13 for older, more complex books.
Mind-set: Focus on friends, family and the character’s immediate world and relationship to it; characters react to what happens to them, with minimal self-reflection.

Voice: Often third person.

Ya At A Glance
Age of readers: 13–18.

Length: Generally 50,000–75,000 words (although there’s also a length allowance for fantasy).
Content restrictions: Profanity, graphic violence, romance and sexuality (except for eroticism) are all allowable (though not required).

Age of protagonist: Ages 14–15 for a younger YA with cleaner content aimed at the middle-school crowd; for older and more edgy YA, characters can be up to 18 (but not in college).

Mind-set: YA heroes discover how they fit in the world beyond their friends and family; they spend more time reflecting on what happens and analyzing the meaning of things.

Voice: Often first person.

MG vs. YA Characters
When picking your hero’s age, remember that kids “read up,” which means they want to read about characters who are older than they are. So an 8-year-old protagonist won’t fly for the MG category, though it’d be OK for a younger chapter book or easy reader. For the widest audience, you’ll generally want your protagonist to be on the oldest side of your readership that your plot will allow. That means a 12- or even 13-year-old hero for MG, and a 17- or 18-year-old for YA (just remember your hero can’t be in college yet—that would push it into the “new adult” category).

MG vs. YA Readers
Middle-grade is not synonymous with middle school. Books for the middle-school audience tend to be divided between the MG and YA shelves. So which shelf do those readers go to? While there is no such thing as a ’tween category in bookstores, there are degrees of maturity in both MG and YA novels that’ll appeal to the younger and older sides of the middle-school crowd. A longer, more complex MG novel with characters who are 13 could take place in middle school and be considered an “upper-MG novel.” But the material can’t be too mature. It’s still an MG novel, after all, and most readers will be younger. Writing a sweeter, more innocent YA? Then it’s pretty likely that your readers will be ’tweens, that your characters should be around 15 years old, and that your book will be marketed as a “young YA.”

While it’s useful for you to understand these nuances as you craft your story and relate to your true audience, when it comes time to submit, don’t go so far as to define your novel as upper MG or younger YA in your query. That’s already pointing to a more limited readership. Instead, just stick to calling it either MG or YA when you submit, and let an interested agent draw conclusions about nuances from there.

MG vs. YA Content and Voice
What’s cool to a fourth-grader differs from what a 10th-grader will idolize. Same goes for the way they speak and the way they view the world. Which is why if romance appears in an MG novel, it’s limited to a crush and maybe an innocent kiss, as it is in Shugby Jenny Han. A YA could involve deep, true love as well as sexuality, as in The Fault in Our Stars by John Green. Another key difference? Overall, MG novels end on a hopeful note, while YA novels could have less optimistic endings, as in Green’s tearful story. You could say that that’s youth vs. experience coming into play.

The rest of the article at: http://www.writersdigest.com/online-editor/the-key-differences-between-middle-grade-vs-young-adult?et_mid=685611&rid=239626420

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Writing tip Wednesday: “Those Moral Delimma Hooks”

5 Moral Dilemmas That Make Characters (& Stories) Better

Details at: http://www.writersdigest.com/online-editor/5-moral-dilemmas-that-make-characters-stories-better?et_mid=694352&rid=239626420

Readers can’t resist turning pages when characters are facing tough choices. Use these 5 keys to weave moral dilemmas into your stories—and watch your fiction climb to new heights.

By Steven James

Key #1: Give Your Character Dueling Desires
Before our characters can face difficult moral decisions, we need to give them beliefs that matter: The assassin has his own moral code not to harm women or children, the missionary would rather die than renounce his faith, the father would sacrifice everything to pay the ransom to save his daughter.

A character without an attitude, without a spine, without convictions, is one who will be hard for readers to cheer for and easy for them to forget.

So, to create an intriguing character facing meaningful and difficult choices, give her two equally strong convictions that can be placed in opposition to each other.

For example: A woman wants (1) peace in her home and (2) openness between her and her husband. So, when she begins to suspect that he’s cheating on her, she’ll struggle with trying to decide whether or not to confront him about it. If she only wanted peace she could ignore the problem; if she only wanted openness she would bring it up regardless of the results. But her dueling desires won’t allow her such a simple solution.

That creates tension.

And tension drives a story forward.

So, find two things that your character is dedicated to and then make him choose between them. Look for ways to use his two desires to force him into doing something he doesn’t want to do.

Key #2: Put Your Character’s Convictions to the Test
We don’t usually think of it this way, but in a very real sense, to bribe someone is to pay him to go against his beliefs; to extort someone is to threaten him unless he goes against them.
For example:

  • How much would you have to pay the vegan animal rights activist to eat a steak (bribery)? Or, how would you need to threaten her in order to coerce her into doing it (extortion)?
  • What would it cost to get the loving, dedicated couple to agree never to see each other again (bribery)? Or, how would you need to threaten them to get them to do so (extortion)?
  • What would you need to pay the pregnant teenage Catholic girl to convince her to have an abortion (bribery)? What threat could you use to get her to do it (extortion)?

Look for ways to bribe and extort your characters. Don’t be easy on them. As writers we sometimes care about our characters so much that we don’t want them to suffer. As a result we might shy away from putting them into difficult situations.

Guess what?

Spin your protagonist's moral compass around and make him doubt his belief that pigs can't fly.

Spin your protagonist’s moral compass around and make him doubt his belief that pigs can’t fly.

That’s the exact opposite of what needs to happen in order for our fiction to be compelling.

What’s the worst thing you can think of happening to your character, contextually, within this story? Now, challenge yourself—try to think of something else just as bad, and force your character to decide between the two.

Plumb the depths of your character’s convictions by asking, “How far will s/he go to … ?” and “What would it take for … ?”

Key #3: Force Your Character Into a Corner
Don’t give him an easy out. Don’t give him any wiggle room. Force him to make a choice, to act. He cannot abstain. Take him through the process of dilemma, choice, action and consequence:

  1. Something that matters must be at stake.
  2. There’s no easy solution, no easy way out.
  3. Your character must make a choice. He must act.
  4. That choice deepens the tension and propels the story forward.
  5. The character must live with the consequences of his decisions and actions.

If there’s an easy solution there’s no true moral dilemma. Don’t make one of the choices “the lesser of two evils”; after all, if one is lesser, it makes the decision easier.

For example, say you’ve taken the suggestion in the first key above and forced your character to choose between honoring equal obligations. He could be caught between loyalty to two parties, or perhaps be torn between his family obligations and his job responsibilities. Now, raise the stakes—his marriage is at risk and so is his job, but he can’t save them both. What does he do?

The more imminent you make the choice and the higher the stakes that decision carries, the sharper the dramatic tension and the greater your readers’ emotional engagement. To achieve this, ask “What if?” and the questions that naturally follow:

  • What if she knows that being with the man she loves will cause him to lose his career? How much of her lover’s happiness would she be willing to sacrifice to be with him?
  • What if an attorney finds herself defending someone she knows is guilty? What does she do? What if that person is her best friend?
  • What if your character has to choose between killing himself or being forced to watch a friend die?

Again, make your character reevaluate his beliefs, question his assumptions and justify his choices. Ask yourself: How is he going to get out of this? What will he have to give up (something precious) or take upon himself (something painful) in the process?

Explore those slippery slopes. Delve into those gray areas. Avoid questions that elicit a yes or no answer, such as: “Is killing the innocent ever justified?” Instead, frame the question in a way that forces you to take things deeper: “When is killing the innocent justified?” Rather than, “Does the end justify the means?” ask, “When does the end justify the means?”

The other two items are:

  • Key #4: Let the Dilemmas Grow From the Genre
  • Key #5: Look for the Third Way.

For information on these steps and the a little more about the other three, go to http://www.writersdigest.com/online-editor/5-moral-dilemmas-that-make-characters-stories-better?et_mid=694352&rid=239626420

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Writing tip Wednesday: “Agent hunting”

11 Steps to Finding the Agent Who’ll Love Your Book

Source: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/11-steps-to-finding-the-agent-wholl-love-your-book?et_mid=683644&rid=239626420

By Lori Rader-Day, author of The Black Hour

I was ready. I had an edited manuscript. I had a tiered list of agents. I had a spreadsheet. I’d read every scrap of information about getting an agent, and I was prepared, at last, to submit my novel. The process could take months, maybe years, I’d heard. I was in for the long haul, baby. The good news is it didn’t take years to get an offer of representation. The even better news: That offer came in the form of four magic words, words I’d been told to wait for by all the experts: I love your book.

Lori Rader-Day

Lori Rader-Day

Not just a Facebook-worthy thumbs up, not a “I think I can sell this.” Love. The reason you wait for true love in publishing is because publishing requires it, and not just from the author. Remember the feverish crush that helped fuel your first draft? Your agent needs that same big-eyed reverence for your book to take it out to editors, hoping for another love connection.

So how do you snag one of these lovey-doveys for yourself?

Revise
You’re not ready until you can bounce a quarter off your manuscript. You’ve already revised, I know. Leave it alone for a month, then go back. Make sure your pages say precisely what you meant. Make your sentences sing.

Read
Meanwhile, the best way to see how it’s done is to read. Read widely. When you don’t like something, figure out why. Apply everything you learn to your draft until further ideas ping off it.

Research
Gather your intelligence. Which books are like yours, not just in subject but in tone and style? Who agented them? Read the Writer’s Digest archives. Use online resources to sort through the known universe of agent submissions. Learn as much as you can, and start a list. Rank agents in order of likelihood of love match.

Package
Learn to write a query letter. Write a synopsis. What’s a log line? Get one. If at any one of these steps you find something lacking in your story, don’t ignore the problem. Every step of this process is a chance to get it right before someone else can tell you you’re getting it wrong. Go back over your draft until your product is perfectly packaged for sale. Did your eye just twitch? Get used to thinking of your baby, your life’s creative work, as a prototype that might yet be tinkered with by other people.

Network
Time for some allies. If you have a writers’ group, they should have already had a swipe at your pages, but having a writing network isn’t just about first readers. What you want is a group of people who can tell you how the road ahead looks. Research writers’ associations in your genre and beyond. Ask at your local library, bookstores, or universities for writing groups or workshops.

Read again
The guidelines, in this case. This is your last chance before you click send to take a look at your list of agents and take note of what they want from your initial query. Getting through the front door is often about playing by the rules. Don’t send anything less—or more—than each agent has asked for.

The other tips include:

  • Submit
  • Write
  • Track
  • Submit again
  • Commit.

Details on these at: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/11-steps-to-finding-the-agent-wholl-love-your-book?et_mid=683644&rid=239626420

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Writing tip Wednesday: “Getting in the suspense of things”

5 TIPS FOR WRITING SUSPENSE

by Kira Peikoff

Full article at: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/5-tips-for-writing-suspense?et_mid=693701&rid=239626420

I am a traditionally published thriller author. My latest book No Time to Die just hit shelves this week. When I first started writing suspense fiction, though, I had very little idea what I was doing. It took a humble amount of trial and error to get in a groove and overcome basic rookie errors. Now, seven years later, I like to think I’ve figured out some tricks of the trade. I’ve also been extremely lucky to receive the support and mentorship of some of the top names in the biz, like Jack Reacher’s creator Lee Child and the late Michael Palmer. So without further ado, here are some tips for budding thriller writers that I wish I’d known from day one…

1) Structure Scenes like Mini-Novels: Each one should contain its own narrative arc, with rising action and a climactic moment that signals the end of the chapter. It’s good form to finish most chapters on a cliffhanger—especially the first one. A major dramatic question should be raised in the opening scene, and then resolved in an unexpected or unfavorable way to hurl the main character further into the conflict (and thus drag your readers into the story). Get your protagonist in trouble as soon as possible and never let her get too comfortable or too safe. As far as chapter length, I’ve found that an average of five pages (double-spaced, size 12) works well for keeping up the pace.

2) Plot Strategically to Avoid the Sagging Middle: This rookie error is one I had the misfortune of making early on: I wrote the beginning of a book and then abruptly ran out of steam about sixty pages in. When you’re staring down 240 blank pages without a plan, it’s easy to freeze up. Now I have a method. Once I have the main cast of characters and their conflicts, I conceive a new book in four sections. At the end of each section, I devise a major twist to launch into the next section and keep up the narrative momentum. Once I’ve figured out my four big plot points, I go deeper into plotting the concretes of each individual section, dropping red herrings and hints about the twists to come so that they will be logical without being predictable. This is the most challenging part of the process for me and is apt to change when I actually get to writing. I think of the outline like a highway: you can go off-roading from time to time but you get back on the highway to get to your final destination.

The other three tips are:

3) Alternate Character POVs (Point of Views).

4) Obscure POV when useful.

5) Raise questions and delay the answers.

For details and a chance to win a copy of Kira Peikoff’s book No Time to Die, go to: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/5-tips-for-writing-suspense?et_mid=693701&rid=239626420

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Writing tip Wednesday: “Flexible outline”

7 STEPS TO CREATING A FLEXIBLE OUTLINE FOR ANY STORY

Source: http://www.writersdigest.com/online-editor/7-steps-to-creating-a-flexible-outline-for-any-story?et_mid=682609&rid=239626420

The seven steps involve:
1. Craft your premise
2. Roughly sketch scene ideas
3. Interview your characters
4. Explore your settings
5. Write your complete outline
6. Condense your outline
7. Put your outline into action.

1. Craft your premise.

Your premise is the basic idea for your story. But it’s not enough to just have an idea. “Guy saves girl in an intergalactic setting” is a premise, but it’s also far too vague to offer much solid story guidance.

This is why your outline needs to begin with a tightly crafted premise sentence that can answer the following questions:

  • Who is the protagonist?
  • What is the situation? What is the hero’s personal condition at the beginning? How will that condition be changed, for better or worse, by the hero himself or by the antagonistic force?
  • What is the protagonist’s objective? At the beginning, what does the hero want? What moral (or immoral) choices will she have to make in her attempt to gain that objective?
  • Who is the opponent? Who or what stands in the way of the hero achieving his objective?
  • What will be the disaster? What misfortune will befall the hero as the result of her attempts to achieve her objective?
  • What’s the conflict? What conflict will result from the hero’s reaction to the disaster? And what is the logical flow of cause and effect that will allow this conflict to continue throughout the story?

Once you’ve answered these questions, combine them into one or two sentences:

Restless farm boy (situation) Luke Skywalker (protagonist) wants nothing more than to leave home and become a starfighter pilot, so he can live up to his mysterious father (objective). But when his aunt and uncle are murdered (disaster) after purchasing renegade droids, Luke must free the droids’ beautiful owner and discover a way to stop (conflict) the evil Empire (opponent) and its apocalyptic Death Star.

2. Roughly sketch scene ideas.

Armed with a solid premise, you can now begin sketching your ideas for this story. Write a list of everything you already know about your story. You’ll probably come to this step with a handful of scenes already in mind. Even if you have no idea how these scenes will play out in the story, go ahead and add them to the list. At this point, your primary goal is to remember and record every idea you’ve had in relation to this story.

Once you’ve finished, take a moment to review your list. Whenever you encounter an idea that raises questions, highlight it. If you don’t know why your character is fighting a duel in one scene, highlight it. If you don’t know how two scenes will connect, highlight them. If you can’t picture the setting for one of the scenes, highlight that, too. By pausing to identify possible plot holes now, you’ll be able to save yourself a ton of rewriting later on.

Your next step is to address each of the highlighted portions, one by one. Write out your ideas and let your thoughts flow without censoring yourself. Because this is the most unstructured step of your outline, this will be your best opportunity to unleash your creativity and plumb the depths of your story’s potential. Ask yourself questions on the page. Talk to yourself without worrying about punctuation or spelling.

Every time you think you’ve come up with a good idea, take a moment to ask yourself, “Will the reader expect this?” If the answer is yes, write a list of alternatives your readers won’t expect.

3. Interview your characters.

In order to craft a cast of characters that can help your plot reach its utmost potential, you’ll need to discover crucial details about them, not necessarily at the beginning of their lives but at the beginning of the story.

To do this for your protagonist, work backward from the moment in which he will become engaged in your plot (the “disaster” in your premise sentence). What events in your protagonist’s life have led him to this moment? Did something in his past cause the disaster? What events have shaped him to make him respond to the disaster in the way he does? What unresolved issues from his past can further complicate the plot’s spiral of events?

Once you have a basic idea of how your character will be invested in the main story, you can start unearthing the nitty-gritty details of his life with a character interview. You may choose to follow a preset list of questions (you can find a list of more than 100 such questions in my book Outlining Your Novel: Map Your Way to Success), or you may have better luck with a “freehand interview” in which you ask your protagonist a series of questions and allow him to answer in his own words.

For the rest, go to http://www.writersdigest.com/online-editor/7-steps-to-creating-a-flexible-outline-for-any-story?et_mid=682609&rid=239626420

Historical and speculative novelist K.M. Weiland writes the award-winning blog Helping Writers Become Authors (helping writersbecomeauthors.com). She is the author of Outlining Your Novel and Structuring Your Novel

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