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Posts tagged ‘Amy Kathleen Ryan books’

Embracing E-Books, by Amy Kathleen Ryan

I know, I know. There’s nothing like the feel of a real book in your hands, the aroma of printer’s ink, the crisp crackle of the spine as you open it, and the weight of it on your lap as you curl up with your tea or cocoa or scotch (or absinthe?) and begin the journey. I get it. I like bookstores too. I like libraries. I LOVE books and I own quite a few of them. I buy them out of principle. They represent an ancient technology that will probably never go out of style completely.

Printed books are not the only way to read anymore. Writers need to deal with the fact that the publishing industry is changing, whatever our feelings about it. Bookstores will become fewer and smaller, libraries will be taken over by even more computers, and the overall market will shrink. I weep about it sometimes, but I can’t change it. So instead, I look for ways to accept it, even embrace it.  Here are a few positives about the rise of the e-book that should get writers on board:

You make more royalties. With e-books, a publisher has a much smaller initial outlay, so they can afford to pay you more for each copy sold. Royalties for print books tend to be around 15% or so, but they run about 20% for e-books. That fives percent can make a lot of difference.

A self-published e-book can provide more mileage. When published only in print form, most self-published writers are able to stock their books only with retailers in their immediate geographic area. But any writer can self publish an e-book for relatively little money and offer it through Amazon and other national outlets.

People can buy your book instantly.  Say you’ve written a series such as, oh, I don’t know, the gripping Sky Chasers series, and your reader gets to the end of your riveting first book, titled, for example, Glow. It is eleven o’clock at night and she can’t get to a bookstore or library to keep reading, but wait! What is that on her nightstand beckoning her? Is that a Kindle or a Nook or an iPad with an account that is conveniently hooked up to her credit card? How fortuitous! She can buy Spark right away and keep reading. Lucky her. And lucky me. There is something to be said for the late night impulse buy, a feature that simply doesn’t exist for a book that isn’t available in electronic form.

Fewer trees bite the dust. We all like forests right?

What about piracy? To this I answer: What about libraries? What about used bookstores? What about the two best friends who get together to trade their latest favorite read? You don’t make royalties when people loan your printed book out, or buy it used. That’s a huge drain on your earnings right there. As for pirates, there will always be some wormlike being somewhere trying to get something for nothing. We can’t change the fact that some people are jerks, so why sweat it?

There are other reasons for writers to like the e-book, and I invite you to mention them in the comments section. I own a Kindle myself, and I really like it, especially when I’m traveling. And I honestly do think about how 20% of my money is going right to the author. That’s cool.

So do not fear the e-book. Make the e-book your friend.

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

Amy Kathleen Ryan’s bio page

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United States (and beyond)

   

United Kingdom (and beyond)

   

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VibesZen and Xander UndoneGlowSpark    Tarzan: The Jungle Warrior: Bk. 2Code Name VerityShades of Earth: An Across the Universe Novel (Across the Universe)

Writing Teen Novels
www.writingteennovels.com

Three Act Structure For Novel Writing, by Amy Kathleen Ryan

In my last blog post about writing page turning novels, I touted the use of the three act structure as a useful device some writers use to help create dramatic tension in their stories. I’ve written entire novels myself without realizing I was employing it. Later, I’d look at the story and realize that every element of the three-act structure has been subconsciously inserted into my story. I think this happens because so many stories I’ve read before have followed it. I’ll even go out on a limb to suggest that three act structure existed before anyone knew it existed. It’s a narrative arc that has been deeply embedded in the human psyche since the time before people were writing stories down, when the tales told were legend and myth.

Before I describe the structure, let me clarify one thing that some of you iconoclasts might be thinking: a structure is not the same thing as a formula. A structure creates a framework wherein your characters move within their story. There are some out there who write outside of the common story arc, but most writers, even the great ones, adhere to this ancient narrative form.

Many variations of three act structure can be found on the web, and I encourage you to do some research of your own, but here is a brief outline:

1. The first act sets up your world and your characters. It shows how life is before your inciting incident, which sets your protagonist in motion. Your protagonist, when dealing with this new problem, will be hesitant in some way, but will finally confront a point of no return, where she has committed herself and has no choice but to stay the course.

2. This begins your second act, your rising action, comprised of points and counterpoints between your hero and your antagonist. The second act ends when the absolute worst happens, and all is lost.

3. But wait! Your hero uses her ingenuity and courage, rallies her dwindling resources to do something completely unexpected, and somehow wins the day. This is your climax. Loose ends are tied up, but hopefully not too perfectly, and the reader can finish reading your book then hurry to the bookstore to find more titles by you.

Part of what makes this structure so useful is that it helps the writer keep her characters in charge of the story. You are free to employ the vicissitudes of fate in your plot, but the main pivot points of your story remain in your characters’ hands. This helps hold your reader’s interest, because, in the final analysis, random chance isn’t very interesting. It’s what people do with their circumstances, their choices and their mistakes that makes fiction, and life, interesting.

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

Amy Kathleen Ryan’s bio page

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United States (and beyond)

   

United Kingdom (and beyond)

   

Australia (and beyond)

VibesZen and Xander UndoneGlowSpark    The Girl Who Was Supposed to DieAcross the UniverseTracks

Writing Teen Novels
www.writingteennovels.com

Writing Suspenseful Novels, by Amy Kathleen Ryan

I endeavor to write page-turners.  I love a book that has me so absorbed I will stay up late to finish it, knowing I’ll be tired the next day. I love the tension, the high stakes, the furious pace that makes me deliciously dizzy and frantic all at once. I am forever in awe of writers who can write them, because even if the page-turner is often considered a “commercial” book rather than a “literary” one, there is a world of skill involved in creating one.

Not everybody can be Stephen King, but everybody can learn a few tricks writers use to make their books hard to put down. Here are a few I’ve accumulated along the way.

Judicious use of cliffhangers. If you examine a page-turner, you might find that every chapter ends with a cliffhanger. If the endings of your chapters are too “pat,” you give your reader a natural place to stop reading, and they might not be so eager to pick the book back up again. If you end a chapter with your protagonist in a death embrace with a giant squid, your reader will have no choice but to keep going.

Be succinct. In the history of the universe, there has never been a verbose page-turner. Use details, use setting, use dialogue, write beautifully, but waste no time on words you don’t need.

Let the reader know more than the characters know. If you have a sweet little waif walking up a hillside, and your reader has no idea there is a lecherous troll waiting for her behind a boulder, there isn’t much suspense there. If the reader knows that she’s walking into a trap, you’ve made the reading experience much more harrowing and a lot more fun.

Have consequences. You know how you kind of fall in love with your characters, and you think they’re really great people, and you’d buy them a cup of coffee and have a nice chat if they were real? And you know how you don’t want anything bad to happen to them? Betray them. Torture. Maim. Destroy. Page-turners don’t tend to be sweet little flouncing stories, unless you’re Jane Austen. If you can’t torture your beloveds, forget the page-turner and write a romance, which has its own attractions. Whatever you do, have your character solve his or her own problems. Nothing kills tension faster than a clunky Deus Ex Machina.

Don’t outline. Plenty of people will disagree, but I find when drafting I do better if I don’t necessarily know what’s going to happen. Many times I have gotten to the end of the novel with no idea I was going to kill off a particular character. If you know everything that’s going to happen before you write it, you’ll miss the little breadcrumbs your subconscious is leaving for you about the surprises lurking in the forest. Follow the breadcrumbs. Be willing to stumble off your path, because if you surprise yourself, your reader will be surprised too.

Use the dramatic three act structure. This structure is a bit more involved than the simple ‘Exposition, Climax, Denouement’ we all learned in middle school. I’m leaving a more thorough discussion for my next post, but if you can’t wait, it’s available all over the web in myriad forms.

Perhaps some of you will have noticed other traits of the page-turner. Feel free to leave your ideas about it in the comments. And have fun with your writing!

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

Amy Kathleen Ryan’s bio page

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United States (and beyond)

   

United Kingdom (and beyond)

   

Australia (and beyond)

VibesZen and Xander UndoneGlowSpark    The Dog in the WoodThe Door of No ReturnGenesis

Writing Teen Novels
www.writingteennovels.com

Voice In Teen Novels, by Amy Kathleen Ryan

I get asked a lot in my classes on writing how I make the voice for the teenager ‘authentic’. I think my answer is frustratingly esoteric, but it works for me: I don’t try to sound like a teenager at all. I don’t try to include current slang, or fads, or anything that actually separates me from teens.  I’m a generation older than they are and there isn’t anything I can do about that. Their youth, their teenaged rambunctiousness, their clingy jeans and their weird hairstyles — if I get bogged down in all that, it alienates me from them too much. In other words, I can’t be really authentic in my YA voice if I think of teenagers as the “other”.

Instead I try really hard to get down to the basics, and simply imagine a young, inexperienced person stuck in the situation I’ve created for them. I focus on creating a real, whole character who behaves in all the unexpected, strange ways people behave when they’re confronted with the challenges of life.

Some writers have a totally different take on this question, and they’re not wrong. Many YA writers I know spend time with teens just so they can listen to the way they talk, notice their clothes, and their many changing fads. This can be a good approach too, but I would suggest that even writers who are observing and studying young people, when they’re in the task of writing, are still thinking of their teen characters as people first. Probably all those anxieties about linguistically masquerading themselves fall into the background when they’re drafting.

My only caveat with this approach is that if one tries too hard to sound “current,” one could end up with a book that doesn’t age particularly well. Imagine reading a book written during the 1970s when all the kids were saying, “Far out,” and “Groovy.” Do you want to read that book now? I’ll bet you if you take a look at the books that have endured over the decades, you’ll find that none of the characters sound like the cast of The Brady Bunch.  If plain old lovely English is good enough for the likes of Judy Blume, Madeleine L’Engle, and Katherine Paterson, it is certainly good enough for me.

Besides, there’s so much more to voice than shallow, faddish verbiage. If you get the concerns of a young person right, their frustration with the limits to their own power, their inexperience when dealing with oftentimes adult issues, their very human fears about not being strong enough or pretty enough or smart enough… If you hit all these notes right, the voice takes care of itself. The concerns of a teenager are, in the final analysis, not too different from the concerns of an adult. Where do I belong? How can I be happy? How can I find love?  Who am I? The older I get, the more I realize that we are all like children, continually bewildered by a random, unpredictable, chaotic world, no matter how old we happen to be. If a writer remembers that, s/he can create believable characters of any age.

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

Amy Kathleen Ryan’s bio page

***

United States (and beyond)

   

United Kingdom (and beyond)

   

Australia (and beyond)

GlowSparkVibesZen and Xander Undone    Shades of Earth: An Across the Universe Novel (Across the Universe)Angel DustPhantoms in the Snow

Writing Teen Novels
www.writingteennovels.com

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