Skip to content

Posts tagged ‘writing’

Month In Review (December 2013)

Writing Teen Novels has reached the final month of articles for 2013 from this year’s multi-national line-up of novelists. Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for December 2013

What I Read When I Was A Teenager by Elizabeth Wein

Examining Philosophical Beliefs Through Teen Novels by Bernard Beckett

Bad Habits To Avoid While Writing by Andy Briggs

Handling Feedback About My Novels by Carolyn Meyer

Writing Honest Depictions In Your Novels by Paul Volponi

Writing Good Dialogue For Your Novel by Lish McBride

Creating Characters With Flaws by Kashmira Sheth

Writing What You Know by Beth Revis

The Young Adult Fiction Industry by Stephen Emond (graphic novelist)

Writing The Opening Lines Of A Novel by Kate Forsyth

How I Became A Writer by Monika Schroder

On Being Nice As A Writer by Amy Kathleen Ryan

Marketing Your Teen Novel On A Medium Sized Budget by Laurie Faria Stolarz

Working With An Editor On A Teen Novel by Diane Lee Wilson

***

‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

Advertisements

Writing Good Dialogue For Your Novel, by Lish McBride

There’s a fine line that you have to tread when you’re creating dialogue. You have to manage to write words that sound natural and normal coming out of your character’s mouths while at the same time crafting them to sound better than most conversations. I’ve been told that I write good dialogue. I don’t know if that’s true. I’m obviously biased in my own favor. I’m told that it’s witty and fun and I feel like I’m cheating, because honestly I’m surrounded by witty and fun people and I feel like I’m just reflecting that. Let’s say that you’re not lucky, though, and the people you’re surrounded by are less like Oscar Wilde and more like something that has crawled out of a cave. What then?

First, even cave-speak has it’s place. Not all of your characters are going to be into banter and witticisms. Some are naturally the straight man, only uttering monosyllabic responses and using hand gestures. That’s okay. That’s one of my big things—make the words fit the character. Sometimes I’ll get edits that will say, “I don’t think Sam would ever say this.” Believe it or not, I love those edits. It means my character has become such a living force that my editor is arguing about words that I have made up for them. She can tell when they don’t fit his mouth. It makes me do a happy jig.

Dialogue should be multipurpose. It should advance plot, naturally, but it should also tell us about your characters. It should not, however, be used as a plot-info dump. That’s the difference between this:

“I don’t need your weapon, I have this,” she said, raising an ancient sword.

“Where did you get that?” he growled. “Give it back. Now.”

And this:

“I do not need your weapon, because I stole this one from your house about five minutes ago,” she said.

“I recognize that sword! It is the magical sword from the house of Usher, the one my family has been protecting for generations. It can only be wielded by the chosen one! You are wielding it, so you must be the chosen one, though I cannot believe such a thing right away. You are going to have to prove it.”

Neither of these are the best examples of dialogue, but I think you get the picture. Info dumping is clunky. So is not using contractions. If you don’t use a contraction, it should for a good reason. Same thing goes for slang and dialect—there should be a very good reason to use either. Both dialect and slang can be a good world-building tool when used properly. In Tamora Pierce’s Beka Cooper series, she uses a few slang words like cove, looby and so on. They aren’t over used and it’s clear from context what they mean. It doesn’t stop or slow down the reader, and builds Beka’s character and world at the same time. How? When we meet the upper classes, they don’t use these words, so we know where Beka sits on the class spectrum by using them.

Overuse can be distracting, though. If people can’t read your book or understand anything going on, they put it down.

So how do you gain an ear for dialogue? Well, I can give you some hints. Listen. A lot. Go to a coffee shop and be creepy and eavesdrop on conversations. Write down interesting things that people say. What makes them interesting? If they say boring things, how can you use those lines to make something interesting? Take some dialogue you’re having a hard time with and read it out loud. Does it sound natural? If that doesn’t work, have someone else read it out loud. Watch movies and read books that you love—how do those characters talk? Listen to word choice and pacing. Using actions and description to break up dialogue can create the pacing that you want.

Example:

“Man, I love pie. Pie is the best. I could eat pie forever. What kind of pie is this? I think it has berries.”

Or

“Man, I love pie,” he said, licking his fork. “Pie is the best. I could eat pie forever.” He stabbed something blue with his fork and examined it. “What kind of pie is this?” He stared at the blue glob some more. “I think it has berries.”

The actions and description give the dialogue pauses and slows it down naturally. Also, now I want pie, just maybe not the one I just described.

Homework: Write some really horrible dialogue. I mean really try to make it the worst conversation you’ve ever written. Consciously writing bad dialogue is harder than you think (though we all seem to manage to write it unconsciously quite easily!). Have fun with it. When you’re done, examine it. What makes it terrible? Word use? Too many words? Not enough? Does it reveal anything about the characters? Now take the same dialogue and try to write it well. What’s changed?

***

Lish McBride’s author website: www.lishmcbride.com

Lish McBride’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Hold Me Closer, NecromancerNecromancing the Stone     Shock PointTarzan: The Jungle Warrior: Bk. 2A Coalition of LionsProject 17Saraswati's Way

Writing Teen Novels
www.writingteennovels.com

Writing Sociopathic Characters, by April Henry

When you write mysteries and thrillers, chances are that you will someday write about a person who is a sociopath. In my upcoming book, The Girl Who Was Supposed to Die, one of the characters is a sociopath.

Even though I had written about them, it took me years to figure out that someone I knew was a sociopath. People will often hear sociopath or psychopath – the two terms are basically interchangeable – and think you must be talking about a serial killer. But no. Only a few are. Most are people you might work with, live next door to or be related to. For the most part, they are people who leave a trail of broken hearts, empty wallets and frustrated expectations in their wake.

In some ways, I’m like a sociopath. I was born with no real sense of direction. I can be facing the setting sun and still have no idea where west is. I routinely get lost. It can take years for me to grasp how one street relates to another.

Sociopaths are like that. Only instead of being born without a sense of direction, they seem to be born with an inability to value other people as real, vulnerable human beings.

Robert Hare, PhD, is a pioneer in criminal psychology, specifically the study of sociopaths. He’s come up with some traits common to most sociopaths.

Sociopathic traits

Sociopaths have superficial charm. They are smooth and engaging. That’s because they are not in the least shy or self-conscious. The woman I know comes across well – at first. She easily struck up conversations with strangers.

Sociopaths have a grandiose sense of self-worth. They’re opinionated and cocky. They are so sure of their self worth that at first you might be too. The woman I know was thinking she should become a TV broadcaster – despite lacking any training or experience in this highly competitive field.

Sociopaths have a need for stimulation. They get bored, they take chances, they like thrills. They have a hard time finishing what they start. They are impulsive. The woman I know sometimes hooked up with near strangers.

Sociopaths lie, con and manipulate. It ranges from being sly to being outright dishonest.

The woman I know is an excellent liar. Caught in a lie, she simply layers on two or three more.

Sociopaths don’t feel any guilt. The only feelings they have about their victims are disdain. They have a lack of feeling in general – cold and tactless. I once saw the woman I know laugh because she had made a stranger believe one of her lies to the point the stranger cried with pity for her imaginary fate.

Sociopaths have a parasitic lifestyle. They are good at getting others to pay. The woman I know hasn’t had a job for years.

Sociopaths have difficulties controlling their behavior. They are annoyed, impatient, aggressive, hasty, and often angry. The woman I know ended up in jail for attacking someone.

Sociopaths have no realistic long-term goals. Or their goals are unrealistic – like become a rock star or a famous actor. Or, like the woman I know, to become a TV reporter.

Sociopaths are irresponsible. They may not pay bills, show up late, or do a sloppy job.

They also won’t accept responsibility for their own actions. According to the woman I know, nothing was ever her fault.

Sociopaths you have known

Sociopaths cause so many problems, but, at least right now, we have no way of curing them. Put them in the general prison population or in a mental hospital, and they’ll find ways to manipulate the other inmates.

In order for a person to be change, they must want to be changed. Dr. Hare and others say that sociopaths seldom, if ever, want to be fixed.

Think about people you have come across at work, at school, in your neighborhood, even at church. Chances are that there might be someone who embodies a large number of these traits.

***

April Henry’s author website: www.aprilhenrymysteries.com

April Henry’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Night She DisappearedThe Girl Who Was Supposed to DieGirl, StolenShock Point     Deadly Little SecretRikers High

Writing Teen Novels
www.writingteennovels.com

Month In Review (November 2013)

Writing Teen Novels has reached the end of its eleventh month of articles for 2013 from this year’s multi-national line-up of novelists.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for November 2013

How Martial Arts Benefit Me And My Writing by April Henry

Using Varied Narrative Styles And Formats In A Novel by Paul Volponi

On Categorising Teen Novels by Elizabeth Wein

Why I Write Young Adult Novels by Beth Revis

You Need To Love Your Characters by Lish McBride

How Do You Know If An Idea Will Develop Into A Good Story? by Bernard Beckett

Planning And Writing A Novel by Monika Schroder

To Outline Or Not To Outline? by Kashmira Sheth

Nurturing (And Protecting) Your Story Idea by Diane Lee Wilson

Novel Titles And Covers by Carolyn Meyer

Time And The Publishing Process by Stephen Emond (graphic novelist)

Keep Writing: The Importance Of Finishing Stories by Andy Briggs

Handling Disappointment To Be A Resilient Writer by Amy Kathleen Ryan

Different Types Of Plot In Fiction by Kate Forsyth

My Tips For Writing Novels by Pauline Francis

Guiding A Reader’s Experience Throughout Your Novel (Secrets Of Narrative Drive) by Sarah Mussi

Marketing Your Teen Novel On A Small Budget by Laurie Faria Stolarz

***

‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

My Tips For Writing Novels, by Pauline Francis

I don’t really have to write this post, do I? You could do it for me by now if you’ve been reading the others. But I’ll sum it up:

1. Read, read, read.

2. Write, write, write.

3. Write every day.

4. Always write down your ideas when you have them.

5. Never throw any of your work away. A short story might become a chapter in a novel.

6. Read your work aloud regularly for rhythm and tension.

7. Enter competitions whenever you have time.

8. Re-read authors who are most like you and try to work out why they are good.

9. Don’t be afraid to show your writing to somebody else for feedback.

10. Remember that others forms of writing can feed into your work: school essays, blogs, Facebook entries, diaries, letters/postcards will all tell you a lot about your style and genre. Why not volunteer to edit the school/college magazine for a term? Why not write/design posters? Why not take part in a school play/musical and help with the script?

I am a self-taught writer. I didn’t go to any creative writing classes. But I still had to learn my craft. I did it in two ways. At first, I just wrote. They were short manuscripts, with little re-drafting, which were all rejected. When I realised this was going to be a lengthy process – I’d gave up my job to be a full-time writer and there were bills to pay – I proposed a big project called Fast Track Classics to a publisher: I would abridge the classics for younger readers. This brought in a good income for many years. But the greatest benefit was reading great classics and seeing what made them endure and seeing why they might not be so popular with today’s young readers. I learned more about writing than at any other time in my life and I have great affection for these forty or so books.

I’ve also written many Readers for students learning English as a second language. They are graded at different levels, so I was restricted in vocabulary. This taught me what is essential in a novel: fast plot, strong characters set against interesting locations.

Everybody is capable of writing. But if you want to be published, you have to learn the skills, like any other job. You have to be patient. Think how long it takes to be the best gymnast, the best cyclist or the best piano player.

Of course the golden rule of good writing is SHOW – DON’T TELL. I didn’t put it on the list because I want to show this rule to you – not tell!  This is the magic that turns ordinary writing into something special.

This example below is from Raven Queen. Question: How can I describe Jane’s home (Bradgate House)? This paragraph is taken from the first draft (Jane is the narrator):

I lived at Bradgate House, a house built by my father’s father, Thomas Grey, who died when I was two years old. He used to boast that the forest beyond – Charnwood Forest – was big and that he’d laid water pipes from the stream to the house. The town of Leicester was about five miles to the east.

This would have sent my manuscript to the slush pile.

The final manuscript reads:

Visitors usually gasp with pleasure when they first arrive. It is thought to be one of the finest houses in Leicestershire; but Ned gazed past its red brick towers, past its gardens soon to be brimming with fruit and blossom, past the stream which fed water pipes to the kitchen – to the darkening trees beyond.
‘I like the forest best at dusk when birds cloud the sky,’ he said.
I glanced down at him. And now that he was standing closer to me, I no longer saw his tangled hair and grimy skin – only the smile that lit up his face.
Who was he?

Can you see what I’ve done? We see the house through a visitor’s eyes and it’s linked with an emotion that has already linked Jane with the stranger and leaves a question to be answered.

***

Paulines Francis’s author website: www.paulinefrancis.co.uk

Pauline Francis bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Raven QueenA World AwayThe Traitor's Kiss     The Gypsy Crown (Chain of Charms)My Brother's ShadowDark Hunter (Villain.Net)

Writing Teen Novels
www.writingteennovels.com

Developing Good Writing Habits, by Kashmira Sheth

Unless we are fortunate enough to write full time, finding time to do can be as elusive as catching a dream with a butterfly net. I remember talking about writing for many years before I actually sat down and did it. Something or another was always more important to do than my writing. There was taking care of my children, cooking, cleaning and gardening, so everyday I told myself, I will write tomorrow. For a long time that tomorrow never came.

My writing is important to me. I knew that even before I wrote my first story, because I kept thinking about it. One morning I decided that unless I wrote 500 words I wasn’t going to do anything else that day. I wasn’t even going to shower. Writing had to be a sacred duty that had to be performed before I could do anything else. That idea really helped me get started.

Here are some suggestions for finding writing time that have worked well for me.

Start with a word count

Decide how many words you can write per day and stick to it. For me, the 500-word rule has worked well. 500 words fill up 2 pages and no matter how busy I am I can find time to write those pages. If starting to write was difficult, keeping up with 500 words has been easier. The word-count rule is better than committing to write for two hours. In those two hours you may answer your email, surf the internet, talk on the phone, and still feel like you have fulfilled your two hours.  In contrast, the word count is results-oriented.

Stop in the middle

One trick that I have heard other writers use, and have used myself, is to end the day’s writing in the middle of a scene. That way it is easy to pick up and finish the scene the next day, and then start a new scene. If the scene is long, it can even take a few days to complete.

Try to write at the same time each day

If you keep some kind of writing schedule it makes it easy to get to your writing. When you are making other appointments, commitments or social plans, you know that between 10 and 12:00 it won’t work.  This rule makes it easy to keep writing time special, and to remember to write every day.

Disconnect from everything else

Turn off your internet, phones, and other devices: This is easier said than done, but if you don’t check your email and answer your phone during your writing time you can reach your goal of 500 or even a 1,000 words much faster.

Get up to walk or stretch

This may seem like it’s working against writing but it is good to get up and move about a bit. Sometimes, just throwing a load of laundry in the washer or vacuuming a room can help move the blood in your body. In the spring I like to take a walk in my yard for a few minutes to see what is coming up in the garden.

No rules against writing more

If you find that you are on a roll, keep on writing. There is no rule against writing more than your daily word quota.

***

Kashmira Sheth’s author website: www.kashmirasheth.com

Kashmira Sheth’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Keeping CornerBoys without Names     Hold Me Closer, NecromancerRooftopDeadly Little Secret

Writing Teen Novels
www.writingteennovels.com

On Creating Interesting Characters For Historical Teen Novels, by Pauline Francis

For me, an interesting character is somebody who has all the odds stacked against them and has to find a way out. They must have a strong, believable voice that sweeps the reader along.

Just as I was beginning to write historical fiction for teenagers, I went to a conference and wrote down a wonderful quotation from one of the speakers (unfortunately, I didn’t make a note of the speaker’s name). It was: “Characters in history are just like the stars. It takes a long time for their light to reach us.”

The two narrators of my first novel, Raven Queen, were real: Lady Jane Grey and Elizabeth I. They are strong characters, fighting for their cause. In my second novel, A World Away, I made up my central character, Nadie, a Native American girl captured by English colonists. If I’m honest, she is the least interesting of all my characters because she didn’t really know her path in life (except to find the English boy she loved) and I think this weakened her voice. I’d love to go back and change her because it’s an interesting novel in all other ways. I have begun to move away from real characters to concentrate on fictional characters who find themselves in real-history situations. My new novel (Ice Girl, not published yet) is the story of a girl at the mercy of Spanish colonists who fights back with incredible courage and determination, as well as leading other conquered people to safety.

I’ve just read a novel with the most amazing character. It gripped from beginning to end because the narrative voice is so strong. It’s Sally Gardner’s Maggot Moon, which has just won the children’s category of the UK annual Costa prize. The agonising story is told in the first person by a fifteen year old boy called Standish (an unusual name). It’s tear-jerking and harsh (there’s very strong language because it’s mainly his thoughts, so the outside world wouldn’t usually hear it).

If you’re having problem choosing a character, try turning a situation on its head. Many Kings from history had mistresses. Sometimes they bore sons who claimed the throne (the term pretender to the throne is from the French pretendre – to claim). What was it like to be a pretender? I decided to make the fictional Francis (in Traitor’s Kiss) a good person. He doesn’t actually stake his claim as Henry the VIII’s son, but he could have. So he’s still a threat. Princess Elizabeth knows this. Francis becomes one of her victims. She leaves him in a madhouse called Bedlam, just in case he decides to make trouble for her. My novel-in-progress (Blood) is set against the French Revolution. It was a time of great innovation medically and my fictional narrator wants to be an anatomy artist.

You don’t have to make a huge leap of imagination to make your characters interesting. Often a small one will be enough to bring your character alive. In Revolver by Marcus Sedgwick, the story of murder and revenge is made gripping because the action takes place in a small log cabin over a few days with the body of the narrator’s father on the kitchen table. It is that dead father who sends a chill down our spine. He is the interesting character. If the story had been narrated by his son in the future, away from that log cabin, it would have become another murder/revenge story.

***

Paulines Francis’s author website: www.paulinefrancis.co.uk

Pauline Francis bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Raven QueenA World AwayThe Traitor's Kiss     Hold Me Closer, NecromancerShades of Earth: An Across the Universe Novel (Across the Universe)TracksTarzan: The Greystoke Legacy

Writing Teen Novels
www.writingteennovels.com

%d bloggers like this: