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Posts tagged ‘YA novelist from Portland Oregon’

Tips For Writing Page-Turning Novels, by April Henry

Here are some tricks I’ve learned over the years about writing page-turners:

Act first, explain later

Many writers mistakenly think the reader needs to know all the backstory at the beginning of the novel. The problem with this approach is that it makes the real “now” of the story feel less important. Or writers think the reader will like the characters only if they spend a lot of time showing their normal, everyday lives. The problem with this is that the reader feels no urgency to continue. It’s much better if a novel starts on the day that everything changes.

Create a ticking clock

In a mystery or thriller this can be a literal bomb that the reader can’t stop worrying about. It could also be an ultimatum. Other ticking clocks could be the scheduled execution of an innocent man, the day the ship is supposed to land on Mars, the approaching prom, summer ending and the girl going off to college, the hurricane forecast to land in three days, or the lead actress for the big show coming down with mono leaving no one to play the part.

Play on common fears of readers

Common fears include: darkness, wild storms, something crawling on the skin, objects that cover other objects, a small sound when there should be silence, being alone, being helpless or unable to act, something under the bed, closed or partially open doors, hallways or tunnels that lead to the unknown, cramped spaces, basements, attics, heights, crowds, disease, death.

Give characters specific phobias

Give your characters phobias or fears – and then make them face those fears. Afraid of heights? The final confrontation should take place on a rooftop. Afraid of repeating the same terrible mistake? Give them the opportunity to get it right.

End each chapter with an unresolved issue

Have a character open a door, answer the phone, be confronted by someone with a gun, receive a mysterious letter, or make a decision not revealed immediately to the reader.

Cut filler

Look for passages that describe the weather, the landscape, the aftermath, travel, characters eating meals or drinking coffee, a character just sitting and thinking. Then cut them – or at least cut them back.

Hurt a main character

Hurt a main character early so the reader knows no one is off limits. Even better, kill the character – preferably a likable character. Readers will be on the edge of their seats, knowing that anything at all – even something very bad – could happen.

Make choices painful

Force the character to make a choice between two things she wants or to choose the lesser of two evils. Two loves. Two people to save (when only one can be). Addict/temptation. In a relationship/temptation. Maybe the main character knows brother will keep killing, but if she turns him in, he’ll go to death row.

Raise the stakes

Our main character was already nervous about singing in class, but now he has been asked to sing at the stadium. Or for a more mystery-related example, not only will someone die if our main character doesn’t catch the serial killer, but the next victim could be his girlfriend. Or it’s not just a child who will die – it’s a whole kindergarten! Ask yourself, “What could make it worse?” And then make it happen – even if you don’t know how your character will get out of it.

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

April Henry’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

   

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The Girl Who Was Supposed to DieGirl, StolenThe Night She DisappearedShock Point     The Gypsy Crown (Chain of Charms)The HuntingProject 17

Writing Teen Novels
www.writingteennovels.com

Editors: Working With You To Make The Best Book Possible, by April Henry

My first book was published in 1999, so I’ve had a lot of experience working with editors. In fact, I’ve had five of them, plus an unknown number of copy editors and proofreaders. The amazing thing is that, in my experience, each editor has a different approach. What one editor is passionate about may not even be on another editor’s radar screen.

My five editors

My first editor loved characters who were quirky, whacky or eccentric – and if she felt they weren’t quirky, whacky or eccentric enough, she often asked for them to be enhanced. Sometimes her comments were cryptic. I still remember staring at one notation scribbled in a margin. It said, “Pump up the mystery!” I had no idea how to do that and I was too scared to call her. I’ve since learned that just as an email sometimes lacks the emotional nuance that would allow you to completely understand a message, so too can editorial letters and hand-written notes. A simple phone call can go a long way toward making things clear for both writer and editor.

My second editor was a legend in the business. She was in her 80s and everyone loved the idea that she was still working full-time. Dozens of famous authors had been edited by her over the course of her long career. I think she worked right up until she died. Her editing was much more broad-based and she wasn’t nearly as much of a detail person as my first editor was.

My third editor was famous for being able to write an 11-page editorial letter for a 12-page picture book. He used brown stickies to mark changes he had pencilled in green on the manuscript. One draft I got back bristled with so many stickies it looked like a porcupine. For Christmas that year, I gave him a brand new green pencil, figuring he had used one up on my manuscript. One thing I learned from him was that sometimes when an editor asks for a specific change, he or she may be right that something is wrong. However, the writer can often make a different sort of fix than the editor requested and still come away with both parties happy.

My fourth editor writes thoughtful editorial letters that I dread. Why? Because she is skilled at finding flaws I haven’t noticed. Flaws that require lots and lots of thought before I can fix them.

My fifth editor is both a big picture editor and someone who notices the smallest details. She’s pointed out words I tend to overuse - words I wasn’t aware of until she had checkmarked three or four uses of the same word in a single page. Once or twice, she has questioned the veracity of things I write, asking if it’s really true or possible. I welcome that. So much fiction, especially mysteries and thrillers, is riddled with errors about police procedure, weapons or investigative techniques.

The process of editing

Editing used to take place on paper, and you, the editor and your agent would send bulky manuscripts back and forth. I still have some unused manuscript boxes in my basement. They fold up neatly and have a little tab you insert into a slot. It’s probably the equivalent to holding onto a buggy whip. Now manuscripts get emailed as attachments, to be read by agents and editors on e-readers, and to be edited by line and copy editors on computers and then emailed to you with tracked changes. Many editors will still print out a paper copy and mark that up, at least to a degree, although I wonder if that will change as a generation who started on paper retires.

Line editors may make suggestions as to how to burnish the story and are big picture people. Copyeditors are more focused on the details. For example, they make sure that a character who has blue eyes on page 19 does not have gray eyes on page 319. They know the difference between flout and flaunt. They do a certain amount of fact-checking, making sure that, for example, you don’t spell Cheez-Its incorrectly. Oddly, I have had the same freelance copyeditor work on several of my YA books even though they were put out by different publishers. In a further twist of fate, she grew up in Portland, where I base most of my stories.

Both main editors and copy editors have saved my bacon many times. It’s hard to see your story clearly: you always need at least one more set of eyes.

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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 Girl Who Was Supposed to DieGirl, StolenShock PointThe Night She Disappeared    ResponseHappyfaceA Coalition of Lions

Writing Teen Novels
www.writingteennovels.com

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