The Craft of Writing

Posts Tagged ‘fiction’

The Keys to Effective Dialogue in Novels

In dialogue, How-to's, The Craft of Writing on March 22, 2010 at 6:48 am

by C. Patrick Schulze

To listen to a podcast of this article click HERE.

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Dialogue is one of the premier aspects of your novel and every word of it should have a reason as to why it exists within your manuscript.

The reasons for dialogue in a fiction are varied, with the major goals listed below.

  1. Provide backstory
  2. Reveal a character’s personality, internal conflicts or mental state
  3. Establish the tone or mood of a particular point in your story
  4. Provide for character motivation
  5. Build reader empathy
  6. Build or expand on conflict
  7. Move the plot forward
  8. Increase or decrease the pace of your novel
  9. Tweak the reader’s memory of past events within the novel
  10. Foreshadow events yet to happen

If your dialogue does not perform one or more of the above functions, you can most likely delete it from your manuscript. A good test is to read the scene without the questionable dialogue and see if your story, or any critical plot points, are affected. If they are not, cut the dialogue.

Here are some tips for creating better dialogue.

Punctuation Counts

I hate to say this, but punctuation is key to effective dialogue. If you do not follow grammatical rules, your dialogue may not read as intended.

A quick example:

“Maggie said No I will not go with you.”

In this case, it’s difficult to understand if Maggie said the words or if someone else said Maggie said them. This distinction may have quite the effect on your story. As written, it holds little or no tension, whereas in the corrected sentence below, it implies danger and a more exciting plot.

Maggie said, “No! I will not go with you.”

For more on dialogue punctuation, read THIS blog post.

Dialogue is Different

Dialogue happens when a character speaks, of course, but the secret is to not write so your characters speak the way people do. The secret is to write so it sounds like people speaking. It’s a tricky thing to do, but an essential aspect of writing effective dialogue.
You’ll find people speak in clipped sentences peppered with, “um’s” and “ah’s” and the like. You’ll also find they speak in incomplete sentences, incomprehensible grunts and all sorts of other communication you cannot use in your manuscript. Further, and this is fact, ninety-five percent of the time people don’t answer the question asked. If you were to write as people speak, your reader would get bored at once and put down your book. Worse, they’d not recommend it to others.

So, how do you interpret speech to read as effective dialogue? The secret to translate natural linguistics into dialogue is, cut all the dull parts. (I think it was Alfred Hitchcock who first penned that phrase.) If you study the way people speak, you’ll learn the dull parts are most of what they say. Once you’ve identified and eliminated all the inconsequential words, which is most of any actual discussion, you’ll be left with the meat. And the meat is all that goes into your novel.

Here’s an example of how a real conversation might sound and how it could be altered to read as effective novel dialogue:

John said, “What did you do today?”

Mary answered, “Uh, nothing really. I went to the store, bought a pair of black slacks. What did you do?”
“Not much.”

“Oh, by the way, did you know I ran into Sara while I was shopping?”

“Sara!” John was surprised to hear her name.

When you read this exchange, you’ll notice the tension rose when Mary mentioned Sara’s name. In that case, Sara is the turning point to this exchange and the only part of this conversation necessary for novel dialogue.

If you compare their conversation with the purposes of dialogue listed above, you’ll see much of this exchange need not be included in your novel. If you eliminate the “dull parts” the result would cut fifty-one words to twenty-one and might read as follows:

John said, “What did you do today?”

Mary answered, “I ran into Sara.”

“Sara!” John was surprised to hear her name.

Compare this second exchange to our ten reasons to include dialogue in your novel and you’ll find it adheres to seven of the ten rationale on the list. Can you identify the seven it does match? If so, you’re well on your way to understand the use of dialogue in novels.

Once you’ve learned how to write effective dialogue, you’ll see there is a secret in how it relates to your plot. As with the mention of Sara, turning points are often found within your dialogue. That is, things don’t often just happen to characters, characters tell each other what transpires or is about to transpire.

A “rule” found within the craft of writing says dialogue should comprise as much as fifty percent of your book, specifically your word count. Now we all know there are no rules in writing, but the idea does offer an indication of how powerful and meaningful dialogue is to your novel. Therefore, it is one of aspects to the craft of writing you should spend a great deal of your time to study and learn.

I hope you know by now I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


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Similes and Metaphors in Fiction

In How-to's, The Craft of Writing on March 18, 2010 at 3:54 pm

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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As fiction writers, we have access to any number of tools, tips and techniques with which to pen the Great American Novel. Today we’ll discuss two of the most fun and powerful items available to us, similes and metaphors.
Simile is a comparison of different actions, concepts or objects using the words “like” or “as.” In contrast, a metaphor compares dissimilar things without using either of those words. In effect, a simile indicates one thing is MUCH LIKE another whereas a metaphor says it IS like the other. Here are a couple simple examples.

Her eyes were as blue as the ocean. (Simile)

Her eyes are blue pools of laughter.(Metaphor)

What are the advantages of similes and metaphors?

The secret within these literary devices is their innate ability to create powerful mental pictures with a limited number of words.

They enhance your novel by adding effective portrayal and originality.

Similes and metaphors offer your readers a more personal experience and you a better emotional hook.

They also add great depth and imagery to your writing.

Let’s see if I can’t come up with an image, then improve it by way of one of our new friends, simile or metaphor.

“Her eyes flashed with anger.”
“Her eyes flashed with the power of a lightning strike.”

Well, that second example is more hyperbole, (explained below), but you can see the strength between the two images. This first tells the story well enough, but the second shows us the emotion in her face, doesn’t it? The second example conveys a much more powerful image.

The problem with these tools? Metaphors bombs.

Misuse of these wonderful tools will bore and confuse a reader and draw attention to the author’s lack of writing skill.

The most common traps when using metaphors are the cliché, the mixed metaphor, (two or more incompatible metaphors in one expression), and the dead metaphor, (one that has lost its effectiveness over time).

Overuse of similes and metaphors tends to overpower your reader.

Poor word choice can break a reader’s interest at once. Here’s an example of what I mean. “Her skin shinned in the darkness like a fog light.” (Oh, so close!) A single improper word choice rips your image apart. Chose your words with care.

The exaggerated use of similes and metaphors may tend a writer toward hyperbole, (high-PUR-buh-lee), or an obvious exaggeration. Uh, kind of like eyes flashing with the power of lightning.

If you’d like to try your hand at creating metaphors and similes, I found a “Create Your Own Metaphor” exercise at THIS web site.

Be careful with your use of these fun and interesting literary tools and your novel will be all the better for it.

Until we meet again, know I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


More Tips on Imagery in Your Novel

In General Information, How-to's, The Craft of Writing on March 16, 2010 at 3:43 pm

by C. Patrick Schulze

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To listen to a podcast of this article, click HERE.

Imagery, those pictures you paint with your fiction, serves as a powerful tool to transport your readers to another place and time. It makes your novel more believable to your readers and places them inside the world you’ve created with your words. Without imagery, you lose much of the strength to your words and even more of the potential power within your novel. Effective imagery is as important to the novel writer as any character.

Imagine the story of Snow White with seven tall men in place of the dwarfs. It loses so much of its appeal, doesn’t it? Snow White and the Seven Giants? Ah, it’s just not the same. This simple example should give you an impression of how important effective imagery is to your novel.

Now that we understand why we use imagery, let’s look at some more tips on how to use it. (You can find more information about imagery in THIS article.)

Successful authors often use setting to convey imagery. Has a rainy day ever affected your mood? I’m sure it has and it probably made you tired or melancholy. My question to you is why didn’t it make you feel like dancing. After all, there’s ever a song about dancing in the rain. My point, of course, is setting is a great tool to utilize to enhance your story. Your sentence might go something like this: “The over-bright sun blinded him in the same manner the many choices he faced hid the best decision from him.”

Choose an order by which you describe something. For example, describe something or someplace from top to bottom and left to right. Use any order you wish, but this systematic portrayal gives your readers a more logical, thus more grounded, way to see the picture you paint with your words.

When you reach a point in your novel where your story requires imagery, close your eyes and imagine what it is you wish to tell your readers. Pay attention to the details. Then, scribble quick notes as to the five senses you’d use to create the mood, the feeling, the place or object about which you wish to write.

Use similes and metaphors to draw your imagery in the minds of your novel’s readers. (Simile is a comparison of things using “like” or “as” whereas a metaphor makes a comparison without either of these words.) An example? “Her skin felt as smooth as polished marble.”

Personification is a useful tool when you create imagery in your novel. That is, give human-like qualities to something nonhuman. Here’s an example. “The breeze whispered through the woods.”

One of the best ways to employ imagery is to surprise your reader. Use contrast in a way they’d never expect. Is her skin the lustrous hue of alabaster? Why not the skin of shaved cat, pasty, thin? Not all of your imagery need be of the beautiful. In fact, readers will often appreciate just the opposite. In my second novel, the character all my female readers liked the most by a wide margin was the tall, chiseled hunk who fell for the dumpy farmer’s daughter. Without variation, they said they liked him for his love of the unattractive woman, not his good looks. Contrast, especially if unexpected, can have a dramatic effect on your story and your novel.

This brings us to the ugly images you should consider. When you closed your eyes in our earlier example, did something you see appear unappealing? Then write it that way in some way. As with the life we all know, not all images are beautiful. Much in life is in fact, ugly, disturbing, or even disgusting. As long as your imagery is authentic, it will work with your readers. In fact, it is when your imagery becomes improbable that your reader puts down your novel.

I offer three cautions as to imagery in your novel. As with everywhere in the craft of writing, cliches are unwelcome. Phrases such as “tough as nails” or “dark as night” no longer spur the imagination of your readers. Be creative. Also, use care not to overindulge your imagery. If your readers knows the number of teeth missing from his comb, you’ve probably said too much and the result is often the loss of action and pace within your story. Finally, not every scene requires extensive imagery. Like every other aspect of your novel, imagery must be integral to the story for inclusion.

Now I ask you. What tips might you wish to pass along to the readers of this blog as to how you create imagery in your novels?

As always, I wish you best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


Tips to Find Your Writer’s Voice

In General Information, How-to's, The Craft of Writing on March 13, 2010 at 11:16 am

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.


The word, “voice” is almost a reverent term within literary circles. Quite often, this highly sought yet nebulous prize is mentioned with a sigh as if one speaks of their life’s lost love. Every agent seeks that single “unique voice” among writers as if it were a talisman upon which they mayhang their future. Some say voice is so essential to a writer’s success, it outweighs the craft of writing itself.

Some say “voice” cannot be taught, while others say it is among the simplest of things for an author to develop. I guess that depends upon whether you’ve found yours or not. Regardless, in my opinion, it’s already within you. All you need do is find it and usher it forth.

What is “voice” and what purpose does it serve? Well, Dictionary.com defines it as, “The distinctive style or manner of expression of an author or of a character in a book.” The phrase I see as most important in this definition is, “distinctive style”. I believe it is the way you, the author within, artistically projects your personality onto the page. It is the combination of tone, syntax or grammar, and the way you combine the words you choos. It is the distinct flavor or personality that reveals itself on the printed page.

So how might one develop their distinctive voice? Here are some tips:

Write with Your Heart.

Insure the words you put on the page are from your personality. When you do this, your voice virtually comes to life of its own accord. Not to say editing won’t be necessary, but to find your voice, seek your words from within your essence. Don’t try to mimic another writer. You should certainly study and learn from them, but your words should come from your soul.

Write in the Manner You Might Speak to Those Close to You.

When you speak with friends, family members or loved ones, your tone is different when compared to your manner of speech in a business environment. Your words come more from the heart and their clarity is enhanced. Allow that personal side of you to shine through when you write and your voice will ring true.

Visualize Your Reader.

As writers, we should have our audience in mind at all times. Imagine those who read your novel or nonfiction work as your friend and write to that friend.

Read Widely in All Genres.

If you’ve read my earlier posts, you’ve heard me recommend to read widely from within your genre. To develop your voice, however, you should read other types of works, too. Find those authors who appeal to you and study the way they employ the language. This will point you toward your voice and how it will come across to those who read your books. It matters not that you do or don’t like what you read. The purpose here is to identify and identify with other writers’ voices.

Play with Your Voice.

Write, write, then write some more. Experiment with finding ways to put your heart onto the page before you. Write short stories, press releases, fiction, non-fiction, magazine articles, a children’s story. Just write. They don’t have to be long, tedious things, and don’t worry about trying to break out of your genre. Don’t over-think it. Just play with the words in different situations and see what cascades from you by rote.

Write. Write a Lot.

I had a saying I often used with my children on their road to adulthood. In fact, I used it so often it’s now THE family joke. That saying was, “Practice, practice, practice.” I know, it sounds inane, but this is still the best way to develop your writer’s voice. Write, and write a lot.

Look for Patterns in Your Writing.

Someone once told me the person who sees the patterns to things is the one who makes the money. Use this same idea to find your voice. Look for the serendipity in your writing. What is it you tend toward without thought? These patterns will exhibit themselves in time and within them, you’ll see your natural voice. Welcome it and it will become even more prevalent in your writing.

Fine Tune Your Voice.

Try this exercise. Write a rough draft of something. This is where you think the least about what it is you’re writing. Set the work aside and come back to it in a week, or better yet, a month. When you review it later, you’ll see more of your voice than you realized when you first put pen to paper, or fingers to keyboard, as it were. When you look it over, highlight those phrases or sentences that appeal to you, those that strike the memorable cord. Remove everything else on the page then put it aside again. In another month, review what’s left. You may be surprised to find your voice within those remaining phrases.

You might also try this. Set a mood wherever it is you write a scene. Place things around you that enhance the mood of the scene on which you plan to work. Try to employ as many senses as possible. For a scene where your characters argue, maybe you surround yourself with photos of the boss and light one of the ex’s cigars. Whatever works. The key here is not to be shy about what you’re doing. Do this with various scenes and their associated moods. Once you find yourself slipping into whichever frame of mind you decide upon, then write with abandon. Write with as little thought as possible, but as much intuition as you might muster. Again, set your writing aside for a time then follow the exercise above and highlight what catches your ear. Your voice may just show up and stay for a while.

When it visits, you’ll notice things like sentence length, word choices, metaphors, similes and the like. You’ll see how you turn that proverbial phrase and your natural cadence. In effect, you’ll notice your writing patterns and your voice lies therein.

How does one know when they’ve found and matured their voice? It’s when each of your characters has a voice of their own. It’s a fun day when you realized this maturity in your writing.

Once you identify and perfect your individual voice, I think you’ll see your writing expand into places previously unknown to you.

Best of luck in finding your voice and know I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


“Show, Don’t Tell.” Bologna or Beef?

In General Information, The Craft of Writing on March 11, 2010 at 10:15 pm

by C. Patrick Schulze

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Of all the maxims found within the craft of writing, “Show, don’ tell,” is foremost in the mind of almost every writing instructor and student of the craft. Wikipedia explains this as follows: “Show, don’t tell is an admonition to fiction writers to write in a manner that allows the reader to experience the story through a character’s action, words, thoughts, senses, and feelings rather than through the narrator’s exposition, summarization, and description.”

Proponents of this technique say the concept is simple, as is its purpose. When you Tell, your audience has no option but to see what you show them. When you Show, their imagination is free to visualize whatever they wish, thus making your story more personal to them. With Tell, they view your picture, whereas with Show they paint their own.

They say the key to this fundamental adage is the author’s objectivity or detachment from his writing. Can he paint with broad strokes and leave his words open to interpretation or must he interpret the details with a tiny brush?

These days, most are followers of this maxim and Show is considered to have the greater effect. Proponents argue this is obvious and shown even by examples in real life. To exhibit what they mean, consider the raising of a child. As with the classic example of placing a hand on a hot stove, does the child believe you when you tell them not to touch it or when they burn their hand? Seems obvious, doesn’t it? Show is more powerful than Tell.

Now, for the other side of the story.

This truism is hogwash.

A writer should come out and tell their reader what’s what. In fact, the opponents opine, it’s the wordy writer who must dramatize.

This adage, they say, hinders the writer’s spontaneity and stifles his artistic choices. The writer is not an actor doing as he’s told. Rather, he’s a painter who uses his canvas of words to exhibit his conceptual interpretation of the subject matter.

Francine Prose says, “There are many occasions in literature in which telling is far more effective than showing.” In fact, she’s right. Some of the finest novels ever written employ the technique of telling. “War and Peace,” is a classic example.  Even “One Hundred Years of Solitude,” which some think is among the greatest of novels of the Twentieth Century, is almost told in its entirety.

The detractors of this adage say it stems from Plato and has lost much of its punch by this time in history. It is an orthodoxy that should no longer be written in stone.

Remember Anton Chekhov’s line about the glint of light on the broken glass? The detractors of “Show, Don’t Tell” say Chekhov did not mean writers should adhere to a aged sage, but rather he meant writers should use sensory images.

They also say dramatization need not be accomplished by Tell, by rather the author’s choice of what and when to isolate or magnify his details.

So, what are your thoughts? Thumbs up or Thumbs down to “Show, Don’t Tell?” Let’s find out.


Either way, I hope you know I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

Plot Tips for the Aspiring Author

In How-to's, The Craft of Writing on March 11, 2010 at 7:30 am

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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Before we begin, it’s probably a good idea to define the concept of plot. In general terms, it’s the problems your hero confronts as he travels through the world you’ve created for him. Plot is what keeps your readers’ interest.

Those areas of your story that most affect your hero are called plot points. Plot points are situations that turn your novel in a new direction. They alter your hero’s quest. For an example, let’s consider the scene in Star Wars when Luke Skywalker first sees the hologram of Princess Leia. This initial plot point shifts Luke’s life in a dramatic fashion. His quest begins with that recording of the princess. Though that story had many plot points, another was when Darth Vader told Luke he was the young Jedi’s father. That, like the hologram, changed everything.

Your plot is comprised of three major components, the Complication, the Climax and the Resolution. The Complication involves those scenes that begin your major conflict or plot point.  The Complication identifies for your reader what dramatic quest your hero must undergo. The Climax is that plot point where your premier character faces his Complication, the bad guy. The Resolution, of course, is that series of events that solve the conflict outlined in the Complication. It closes the story.

It may help to think of your plot as a three-act play. Your first act is the Complication, the second the Climax and the third, of course, the Resolution.

For some general tips on how to develop your plot, consider the following:

1. Make sure your hero suffers. His trials can be emotional, physical, mental, or best of all, a combination of the three. Keep in mind the more he suffers, the better is his exhilaration during the Resolution phase.

2.  The conflict you create must have enough power to encompass the entirety of your story. A secret to this is to interweave subplots into your novel. (For more on subplots, read THIS article.)

3.  Insure your hero and villain are evenly matched. It’s important for the story that your reader never knows if your hero will survive his ordeal. He will, and they know it, but you do need to create that sense of doubt for your plot to work with efficiency.

4. Each chapter of your story should hang on an issue. As a famous author whom I can’t quote at this time said, someone must want something in every chapter, even if it’s only a glass of water. This constant tension will keep your audience wanting to read more.

5. Make sure you couple the correct setting with your conflict and plot points. It’s more riveting for your hero to suffer thirst in the desert than a coffee shop. (For more on setting, read THIS article.)

6. At some time, your hero must grab the bull by the horns and get into it with the villain. Nobody wants to read about an indecisive hero. Get that man dirty.

7. It’s not nice to fool Mother Nature, but it’s just fine to fool your reader. Give your plot twists and turns to confuse and surprise them. I think they call this, “mystery.”

8. Foreshadowing is a powerful tool when developing your plot. Let them know something ominous is coming, just don’t spill those proverbial beans too soon.

9. Try to stay away from stereotypes in fiction. The nun who works for the underground is more interesting than the soldier who does so.

10. Let your plot develop as you move through your story. Don’t be afraid to allow your imagination to take your characters where it wants them to go.

11. The secret to your success as a writer of fiction is the good story. And the good story is all about plot. And plot is all about conflict.

What tips might you wish to share as to how you develop your plot?

Best of luck  and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, Born to be Brothers.

The Sidekick as Character

In General Information, The Craft of Writing on March 4, 2010 at 8:09 am

By C. Patrick Schulze

Listen to a podcast of this article HERE.

The term, “Sidekick” comes to us from gamblers testing their luck at the card table in the 1600’s.  It meant what we now call an “ace in the hole,” or a power card held in reserve for an appropriate time.

Many novels utilize the services of this character called sidekick with great effect. Most often they contrast with the protagonist, but in a nonthreatening, possibly even humorous manner. The secret to the Sidekick when you write fiction? He’s an interactive prop against which the hero bounces.

His purpose is to enhance the characteristics of the hero and possibly offer comic relief. He also gives depth to the plot and other characters. Often a main goal is to provide counsel and/or information to the good guy. The Sidekick is also assigned those duties unsuitable for your hero or beneath his status. Another typical function is to save the hero’s hide at those times when your protagonist appears most at risk. Regardless his duties, the Sidekick participates in almost all the hero’s exploits, except of course, those of a physical nature. To his chagrin, the Sidekick never gets the girl.

Your sidekick should be developed as well as any other important character. He, like his heroic counterpart, requires motivation, he must stay consistent to his personality and have something likable about him.

His personality is typically drawn as smart, shy or even cowardly and a bit neurotic, though this stereotype is changing in literature. These days, the sidekick can be as powerful, or more so, than your hero in some ways. Think of Han Solo in Star Wars. He got the girl even before Luke knew Leia was his sister. (Come on now, as Leia was Luke’s sister, this is the exception to the rule about sidekicks and the story’s love interest mentioned above.) Regardless, The Sidekick’s skills compliment the hero’s. For example, consider Sherlock Holmes and Dr. Watson. The good doctor’s personality made Sherlock a more palatable character.

The Sidekick is often differentiated from the protagonist by one or more characteristics. In sci fi, for example, they are often of another species entirely. In other genres, they can differ by any number of factors which might include economic position, education, culture, race or even gender. By the way, a sidekick never has a physical relationship with the hero, which I’ll explain in a moment.

The primary relationship between the main character and the sidekick is trust and loyalty. Their bond is unbreakable, though the reader needn’t necessarily know this. Should the hero and his sidekick part for whatever reason, it can make for an exciting scene when, at his darkest moment, the hero is saved by the unexpected return of the contrite sidekick. That bond also is why the hero and his sidekick can never have a physical relationship. That can create too many opportunities for this trust to bend and break. Further, if you’re not careful, a physical relationship may even move one or both characters into a different character type altogether. This trust also is why your villain will never have a sidekick. Bad guys and their henchmen are notoriously untrustworthy.

You may wish to create a couple of sidekick types to see if you can’t insert them into your books and novels. You may find they give your story that added spark it lacks.

For more about characters, read THIS.

In the mean time, I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

How to Write Battle Scenes

In How-to's, The Craft of Writing on March 2, 2010 at 9:03 am

How to Write Battle Scenes

By C. Patrick Schulze

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Listen to a podcast of this article HERE.

There are two basic types of battle scenes. There is the one where an individual combatant engages in a fight. There are also those epics where generals maneuver grand armies over the countryside. Though both of these scene types have great similarities when it come to your writing, today we’ll discuss a scene in which one or a few soldiers is involved.

Battle scenes are unlike other scene types as they have a trickier side to them. They utilize a different construction and fewer words to move them forward. These scenes are all about speed, strength and emotion.

Under Fire

However, as with any scene, it must have meaning to the story and move the storyline further toward its conclusion. Does the battle offer a plot twist perhaps?  Does it help the hero grow? Might it enlighten your reader to more of your hero’s personality? Like all writing, these scenes should also utilize your characters’ five senses. And don’t forget about point of view either. It is as critical in battle scenes as any other. For example, how effective would an ambush be if the hero knows it was about to occur? Of course, this part of your novel must be well-written, punctuated with accuracy and all those other things novels require.

Write only about the action and trim out everything not related to the moment in time. In battle scenes you’ll employ fewer words than with your normal writing. Adverbs will become quite scarce as will adjectives. Also, search out specific nouns and verbs. You’ll find great command over your words if you choose that unique verb or noun for the situation at hand. For example, soldiers don’t “run” across a field, they “charge” or “rush” or “dash” across it.

The use of emotion is THE component you need to emphasize in writing battle scenes and you should employ all your powers of persuasion at this time. Though James Bond or Patton may be your exceptions, your characters are not indifferent to combat. Even your heroes will be utterly terrified. And consider the emotions of those at the home front. If you fail to bring their feelings into play, you’re missing a powerful plot point.

One powerful tool at your disposal is sentence structure. Your sentences should imitate a sword fight; furious, short and brutal. Long passages slow down the novel, whereas short, choppy ones increase the pace.

Dialogue is another tool that can enhance, or destroy, your action scenes. First of all, you should work for a bit of realism here, so please, no snappy comebacks. Keep your characters’ dialogue to the point. When a soldier is under fire, he’s not joking to his buddies about a YouTube video he saw last night. Nothing is on his mind other than the events swirling around him.

Now for some general tips.

Remember, this is a novel, not a flicker show. Though the slashing sword is important, the character’s reaction to that event is more so.

Insure your villain is worthy. Nobody’s impressed when your hero fights a challenger who is without adequate weaponry.

Don’t write about David and Goliath. That one’s been done.

Whether writing fiction or nonfiction, large battles or single combat, draw a map of your battlefield. It need not be of high quality, but you’ll be surprised as to how much this can help. Use photos of sites whenever possible. I travel to the actual battlefield where my combat occurs and take photos. I then place them on my screen when I write my battle scenes and refer to them often. You’ll be amazed how something as slight as a slight rise in topography can come into play in this type of writing.

When men are wounded, only four thoughts crowd their minds; what parts are missing, will they die, water and family, not necessarily in that order.

In a fight, if someone receives a minor wound, he doesn’t stop to look at it, touch it and study the blood on his fingertips, show it to his enemy and scowl, step back, retake a fighting stance and egg on his opponent with a flip of his fingers. The instant he looks down, he’s dead. That’s it. Keep it moving.

Adrenalin and panic can overcome only so much. Minor injuries won’t be noticed, more serious injuries will stun a combatant, if stop him. Characters run out of breath, they bruise, they bleed. Write to the realism.

Well, I could go on and on about this as battle scenes are my forte, but for the sake of word count, I’ll stop. I do hope you’ve picked up something of use to you.

You know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

The Secrets to Your Novel Writer's Reputation

In General Information, Marketing Your Book, Working with Agents on February 15, 2010 at 8:17 am

I can only suppose you’re reading this article because you are already a successful author or you plan that same accomplishment soon. If either case is true, then you’ve got a professional standing to uphold. How might you go about keeping your reputation up to form? As with anything worthwhile, it’s a bit time consuming but necessary. The good news, there are only a few secrets to keep in mind.

I attended The James River Writer’s Conference last year and listened to a panel where all three speakers agreed to the concept a writer needs to spend seventy-five percent of their time marketing their business and twenty-five percent writing. This means that to keep up your status as a professional writer, you should spend a great deal of your efforts on promoting your name and maintaining your status as a professional. Look at it like this. An Olympian isn’t racing most of the time, he’s practicing. The secret is this concept applies to your writing.

Basically, there are six major steps you should consider if you wish to build and maintain a professional writer’s reputation. I’ll outline them then discuss each in a bit more detail. These considerations are:

  1. 1. Utilize Social Networking
  2. 2. Join an Association
  3. 3. Create Your Web Presence
  4. 4. Write Nonfiction
  5. 5. Keep a Professionals Attitude
  6. 6. Stay Current

Utilize Social Networking: You’ve chosen a field where the competition is fierce, and when a novel writer wants to generate buzz about his manuscript, you have to employ WOM, or word of mouth. Keep in mind social networking is beyond simple posts on Facebook and Twitter, though these are important. You should also join writers’ groups, attend conferences and the like. Be found in those places where writers and readers congregate. Despite all the technological advances in recent years, WOM is still your best way of getting known.

Join an association: Once you’re published, joining a professional writers’ association helps build your cred. For example, if you write mysteries, consider the Mystery Writers of America. Find whatever organization(s) fit your genre then pay their dues and go to their gatherings. It’s a great way to hobnob with the successful and to garner loads of useful information.

Create Your Web Presence: In an earlier post I talked about when to build your web site, which is after you have something to sell. However, you should begin to build your web presence well before the web site is up and running. However, if you wish to establish a profile page sooner, that’s not a bad idea. You should establish a blog one to three years prior to becoming published. Update this no less than weekly.  You should have a professional email, (mine is CPatrickSchulze@yahoo.com). Be sure to include this web information on business cards and other marketing material you might produce.

Write nonfiction: You write fiction all the time. Why not improve your cred by writing nonfiction, such as this article? It helps you boost your reputation as a writer and if you’re unpublished, it also builds confidence.

Maintain a Professional Attitude: Nobody wants to do business with a prim donna or a fool. The more professional your presentation, the more others are willing to deal with you. And, after all, you are in The Business of Writing. You’ll gather more potential proponents and customers with the correct personal presentation. The old adage of “Image is Everything,” holds true in this industry as with any other.

There was an agent I followed on Twitter, had placed in my database, and planned to query at the appropriate time. I met her at a writer’s conference and although her personal appearance was well below standards, I attempted to look past that to get to know her and appreciate the work she might perform for me. Quite frankly, she’s a bitchy woman who looked down upon the unpublished and I soon discovered she is someone with whom I could never work. She lacked even a modicum of professionalism and I’ve dropped her as a possible agent. If you don’t present a professional attitude the reverse happens to you as a writer.

Stay Current: Keep your knowledge of publishing trends and market preferences up to date. You do this by reading industry magazines, various newsletters, blogs, articles and by reading the invaluable information on Twitter and other social networking sites. Staying current also means to write, write, and write some more.

Are there other thing you must do to establish and maintain your cred? You bet there is. However, get these initial steps under your belt and these other opportunities present themselves to you.

Do you have any stories about how you’ve worked to build your credentials as a professional writer? Are there other ways you go about building your reputation?

Until we meet again, I wish you only best-sellers.

C. Patrick Schulze

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How to Create a Plot Outline

In The Craft of Writing on December 11, 2009 at 8:08 am

Recently a reader on Scribd.com asked if I might offer some insight as to how to outline the plot of a word of fiction. I’m glad to help.

I know of two methods by which you can outline the plot of a novel. My favorite is known as The Hero’s Journey. It’s a method by which you identify twelve major activities the hero must undergo in your story. The other is a five-step method where you perform the same task, but focus only on the most important aspects of your story. I’ve outlined the two methods below.

The Hero’s Journey, those twelve steps your hero must face, are defined in its most simplistic form as follows:

  1. Ordinary World – Your hero’s life prior to beginning his quest
  2. Call to Adventure – The event that tells your hero a major life change is approaching
  3. Refusal of the Call – Your hero’s attempt to ignore or forestall the Call to Adventure
  4. Meeting the Mentor – Your hero meets the premier person who will assist him on his quest
  5. Crossing the Threshold – Your hero moves away from his life and onto his quest
  6. Test, Allies and Enemies – The people your hero meets who aid or hinder him during his quest
  7. Approach to the Innermost Cave – Your hero stands on the precipice of fighting his villain
  8. The Supreme Ordeal – Your hero fights your villain
  9. Reward – Your hero receives some sort of treasure for defeating the villain
  10. Journey Home – Your hero travels home and combats additional, lesser villains
  11. Resurrection – Your hero proves worthy of the treasure he has received
  12. Return with Elixir – Your hero reaches his home and received the accolades due him

The Five-Step Method is loosely defined as follows:

  1. Identify your main characters then establish the setting and decide upon the major point of conflict around which your major characters will revolve.
  2. Create the building action. In effect, you place your protagonist in the position where he must take some sort of action to quell the conflict you’ve established.
  3. Bring the conflict in your story to a head. Here the conflict rises to the point of its highest emotion.
  4. Lower the emotional level for your reader and your hero. Any loose ends are tied up and your story is moved toward its conclusion.
  5. Define the formal conclusion of your plot arc or your story.

You can see the similarities between these two systems. I prefer The Hero’s Journey as it, to me, insures you don’t miss any critical scenes. Regardless which method you use, after you’ve created the basic storyline, flesh out those events you need to lead your hero from step one to twelve, or one to five if you prefer.

By first outlining your story and constructing those steps that must take place to move your story forward, you’ll enhance your chances of creating a well-structured and well-received story.

I wish you the best with this and if you have any questions, please post them in a comment. I’ll be glad to help.

Until my next post, I wish you best-sellers.

C. Patrick Schulze