The Terribleminds Holy Mother Of God Lordy Lordy Hallelujah Guide To Creating Super Ultra Awesomepants Supporting Characters

by

This post by Chuck Wendig originally appeared on his terribleminds blog on 2/17/14. Note that it contains strong language.

Oh, the poor supporting character.

The best friend. The lab assistant. The cab driver. The sex gimp.

How shitty they must feel, you know? “Hey, we’re all blocks of flesh in the storytelling pyramid, meant to uphold the protagonist. Hey, pass me another bucket of plot, willya? I’m getting dry. What’s that? The antagonist stole the bucket of plot and pissed in it? We don’t have to… wait, we have to drink it? We have to drink it. … Goddamnit.”

Somewhere in here I’m envisioning a human centipede thing, except in pyramid shape and…

No. Nope. Hunh-hunh. Not going there.

You might think, hey, that’s the ideal usage for a support character. To support the characters, the plot, and the story. Maybe to uphold theme, too, or contribute to mood. And all of that is technically reasonable and not entirely untrue, but looking at it that way runs the risk of coloring your view of all characters as being no more than mere pulleys, gears and flywheels whose only purpose is to mechanize the plot you’ve created. (You ever see the ingredient mechanically-separated meat? It’s something like that, where you envision all the characters as avatars of plot diced up and separated out.)

Characters aren’t architecture, though.

Characters are architects.

Your protagonist and antagonist tend to be grand architects — they’re the ones making the big plans. They’re building — or demolishing — whole buildings. They are the demigods of this place. Creators. Destroyers. Sometimes each a bit of both.

But supporting characters are architects, too. They’re just architects of lesser scale. They work on individual floor designs. They’re hanging art. Moving light switches. Picking paint colors.

 

Click here to read the full post on terribleminds.

 

Dr. Katherine Ramsland: Confessions of a Female Serial Killer

by

This post by Dr. Katherine Ramsland originally appeared on The Graveyard Shift blog on 2/19/14. As a forensic psychologist, Dr. Ramsland can offer informed insights to the breaking “Craigslist Killer” case. This post will be of particular interest to crime thriller and true crime genre authors.

With sudden dramatic confessors, it’s best to verify before you buy

I wrote about Miranda Barbour last week, here, concerning the murder that she and her new husband, Elytte, had committed together last November. For kicks, they’d lured a man to his death with a Craigslist ad. I used their case to describe how two (or more) people can develop a sixth sense about each other for violence. They have a “mur-dar” radar.

Troy LeFerrara, 42, responded to the ad. They picked him up and Elytte used a cord to incapacitate him while Miranda repeatedly stabbed him. They dumped him, cleaned the van and went to a strip club to celebrate Elytte’s birthday. Their phone call to the victim led police to them, and they’ve been awaiting trial.

Over the past weekend, Miranda, 19, said that not only was she guilty of the LeFarrara murder but she’d been killing with a satanic group since she was 13. Supposedly, she’s “lost count after 22.” If let out, she would kill again. Needless to say, this confession has created a flurry of media reports about this “female serial killer.”

But let’s keep in mind that, at this time, Barbour has admitted guilt for one murder for which there is evidence. She’s not yet a confirmed serial killer. Given the brutality of it, we can accept that she’s killed before and perhaps her stories will be validated soon, as law enforcement works with whatever she gives them. However, until then, we should remember the lessons from past cases.

 

Click here to read the full post on The Graveyard Shift.

 

Are You Legit?

by

This post by Andrew E. Kaufman originally appeared on The Crime Fiction Collective blog on 2/18/14.

So lets say you decide to write a book.

You’ve always been a fan of the things, had a few ideas swimming around in your head, and have wanted to take a stab at it for as long as you could remember. Now, here you are, finally connecting with the courage needed to commit those hungry fingers to keyboard, passion to dream.

After X amount of time, your novel is finished, and then, BAM! Away you go, uploading your book to the KDP platform, ready to take on the world and be the next Nora Roberts or Stephen King or whoever you think is the bomb.

First question: are you an author?

Well, technically speaking, yes, because you’ve:

A. Completed a novel.
B. Published it.
C. Can call yourself whatever the hell you want.

And really, in this era of self-publishing, that’s how a lot of established authors got their start (myself included).

Next question: are you a legitimate author?

 

Click here to read the full post on The Crime Fiction Collective blog.

 

3 Reasons Most Writers GIVE UP & 3 Reasons Why YOU Shouldn't

by

This post by Angela Scott originally appeared on her site on 12/20/11.

Between getting our words down on paper and then trying to get someone (agents, publishers, READERS, anyone) to care about those words, we may come to a cross point in which we say, “Is this even worth it? Why in the world am I doing this to myself? I think I’ll take some medicine to numb the voices and just go back to bed. Forget it. I’m done.” *sticks out tongue and blows a raspberry at the world*

I’ve been there myself, many a time. But each day, I put myself back in front of the laptop and write. Even on days when I don’t want to.(I don’t wanna, I don’t wanna, I don’t wanna). Why? Why do I put myself though this craziness? Well, I’m still trying to understand it myself. And though I don’t have a clear reason why I keep plugging along (I’m a masochist. I’m schizophrenic. Like Lady Ga-Ga, I was born this way), I do know several reasons why some writers give up:

Reason #1: Writing is hard. It is. The writing process, at times, can be incredibly fun and rewarding. When the words flow and nearly write themselves, it’s amazing. It’s almost a high type of feeling. A rush. But there are other times, many times, in which writing just plain sucks–the words do not come; or the words DO come, but they are crap; editing (it’s a pain in the butt, but SO necessary. Do not skip this step. Just saying); promoting and marketing (UUUGGGHHH); and then coming up with another great idea. Oh the pressure! No wonder I feast on lots of migraine pills, chocolate, and caffeine.

 

Click here to read the full post on Angela Scott’s site.

 

2014: The Year Of Reading Women?

by

This post by Zeljka Marosevic originally appeared on the Melville House Publishing site on 1/24/14.

Sometime last year, I pinned a sheet of paper above my desk with the title “Women Writers” and began forming a list of names of female writers that I had read whose novels I enjoyed, admired or found important. I did this because I had too often found myself reading literary criticism or having conversations about books in which every author mentioned was male. A communal, easy forgetfulness seemed to spread over the article’s writer and his reader, or over those taking part in the conversation, a coercive amnesia where we forgot that women had ever written books, that they might even be good, and that they could be discussed alongside books by men —and would hold their own— rather than in separate fenced-off conversations.

Last year was a bad year for women in literature. As we covered on MobyLives, figures were revealed that showed how male reviewers and authors vastly outnumbered their female counterparts across UK publications; only 8.7% of books reviewed in the LRB were by women. In the US, the New York Review of Books flaunted a boy’s-only bumper summer issue when, out of twenty seven contributors, only one was a woman (April Bernard reviewed Frank Bernard, and we mustn’t forget an archive piece from Joan Didion).

2014, the Guardian reports, is being declared the “Year of Reading Women”, owing to a few small but important examples of how readers and critics are considering their next read.

 

Click here to read the full post on Melville House Publishing.

 

Hemingway Takes The Hemingway Test

by

This article by Ian Crouch originally appeared on The New Yorker on 2/13/14.

Creators of the Hemingway App Explain Their Rules for Writing

This week, in the Times, Charles McGrath wrote about a newly digitized collection of ephemera from Ernest Hemingway’s Cuban estate, Finca Vigía, which confirms that the famously terse writer was, as McGrath says, “a hoarder.” Ticket stubs, telegrams, Christmas cards, diary entries—all of it amassed in the twenty-plus years that Hemingway kept his house there. Amid the collection, McGrath identifies two notes that Hemingway had seemingly written to himself, in pencil. One reads: “You can phrase things clearer and better.” And the other: “You can remove words which are unnecessary and tighten up your prose.”

The above paragraph scored an “O.K.” in Hemingway, an app, created by the brothers Adam and Ben Long, which analyzes text and, as it promises, “makes your writing bold and clear.” The program highlights overly complicated words and suggests alternatives (my “all of it” could have simply been “all”). It also calls out adverbs (“newly,” “famously, “”seemingly”), difficult-to-read sentences (the first being “very” hard to read, while the second was just hard), and instances of the passive voice.

 

Click here to read the full article on The New Yorker.

 

On the Issue of Misogynist Writers and Readers

by

This post by Paula D. Ashe originally appeared on Dust and Shadow on 2/18/14. Note that it is intended as satire.

It’s important as a writer (or artist of any kind, really) to celebrate your successes. No matter how large or small. Seriously, the more I write and publish and talk to people about writing and publishing, the more I realize that there are so many people out there who are just livid at those of us who are brave enough to create something and be proud of it.

There’s been a lot of vitriol about Women in Horror Month after some insecure dudes on Facebook and elsewhere attempted to degrade the celebration. They said we women use our sexuality to gain success, that women writers of horror don’t write as well because we’re women, they violated the WiHM logo by including a clinical diagram of a vulva and analogizing the organ to a woman’s mouth, they made sexually violent and objectifying comments about women writers, and many of them said all this by prefacing it with “I love women but…”.

Obviously, those statements about women writers are totally true. For example, if you stare at the texts of my fiction and then slowly push it away from your face after about thirty seconds some titties will materialize on the page like those holographic 5-D posters they used to have in the mall. I do that because otherwise no one will read, let alone buy, my work. Also, as a woman, I’m very concerned about my fiction being too dark because nothing about being a human being, let alone a woman, is rife with existential or concrete horror. In fact, every time I write a death scene I imagine a unicorn emerging triumphantly from the corpse to calm my delicate feminine sensibilities.

 

Click here to read the full post on Dust and Shadow.

Creating Stunning Character Arcs, Pt. 1: Can You Structure Characters?

by

This post by K.M. Weiland originally appeared on her Helping Writers Become Authors site on 2/9/14.

What if there were a sure-fire secret to creating stunning character arcs? Would you be interested in discovering it? If you care about connecting with readers, grabbing hold of their emotions, and creating stories that will resonate with them on a level deeper than mere entertainment, then the answer has to be a resounding yes!

But here’s the thing about character arcs: they’re way too easy to take for granted. On the surface, character arcs seem to boil down to nothing more than a simple three-step process:

1. The protagonist starts one way.

2. The protagonist learns some lessons throughout the story.

3. The protagonist ends in a (probably) better place.

That’s character arc in a nutshell. Easy-peasy, lemon squeezy. What’s to learn?

Turns out: a lot.

 

The Link Between Character Arcs and Story Structure

Too often, character and plot are viewed as separate entities—to the point that we often pit them against each other, trying to determine which is more important. But nothing could be farther from the truth. Plot and character are integral to one other. Remove either one from the equation, or even just try to approach them as if they were independent of one another, and you risk creating a story that may have awesome parts, but which will not be an awesome whole.

 

Click here to read the full post on Helping Writers Become Authors.

Also see this follow-up post: Creating Stunning Character Arcs, Pt. 2: The Lie Your Character Believes

 

Why Writers Are the Worst Procrastinators

by

This article by Megan McArdle originally appeared on The Atlantic on 2/12/14.

The psychological origins of waiting (… and waiting, and waiting) to work

Like most writers, I am an inveterate procrastinator. In the course of writing this one article, I have checked my e-mail approximately 3,000 times, made and discarded multiple grocery lists, conducted a lengthy Twitter battle over whether the gold standard is actually the worst economic policy ever proposed, written Facebook messages to schoolmates I haven’t seen in at least a decade, invented a delicious new recipe for chocolate berry protein smoothies, and googled my own name several times to make sure that I have at least once written something that someone would actually want to read.

Lots of people procrastinate, of course, but for writers it is a peculiarly common occupational hazard. One book editor I talked to fondly reminisced about the first book she was assigned to work on, back in the late 1990s. It had gone under contract in 1972.

I once asked a talented and fairly famous colleague how he managed to regularly produce such highly regarded 8,000 word features. “Well,” he said, “first, I put it off for two or three weeks. Then I sit down to write. That’s when I get up and go clean the garage. After that, I go upstairs, and then I come back downstairs and complain to my wife for a couple of hours. Finally, but only after a couple more days have passed and I’m really freaking out about missing my deadline, I ultimately sit down and write.”

Over the years, I developed a theory about why writers are such procrastinators: We were too good in English class. This sounds crazy, but hear me out.

 

Click here to read the full article on The Atlantic.

 

What You Love Is Where Your Writing Platform Lives

by

This post by Christina Katz originally appeared on her The Prosperous Writer site on 2/14/14.

Do what you love and write what you love — sounds like a pretty good plan, right?

But what if I also told you that doing what you love and writing what you love leads to growing a platform you love?

Even better news!

But wait, here comes the punchline.

The challenge is that precisely what a writer loves is almost never apparent…unless the writer has already done a lot of writing.

In fact, I’d say 99.9% of writers I have worked with personally have to write their way to a successful platform.

Rare is the writer who can accurately predict what her platform is going to look like ahead of time without some writing to predict it.

 

Click here to view the full post on The Prosperous Writer.

 

Ask Questions to Find Your Story

by

This post by C.S. Lakin originally appeared as a guest post on the blog of Elizabeth Spann Craig on 2/17/14.

I ask a lot of questions in my line of work as a professional manuscript critiquer and copyeditor. Sure, I also give a lot of suggestions and fix badly constructed sentences. But it’s the questions that get to the heart of the story. Asking authors questions helps them get thinking about what they’re writing and why.

So much important information seems to be missing in so many novels—especially first novels by aspiring authors. Novel writing is tricky; there are countless essential components that all need to mesh cohesively. To me, the key to reaching that goal is to ask a lot of questions.

 

Questions Create Story

Starting a novel is asking a question. What if . . .? What would someone do if . . .? What if the world was like this and this happened . . .? Then those initial questions lead to more questions, which shape and bring life to characters and story. Questions are the key.

Thousands of hours of critiquing and editing has led me to notice that there are some questions I seem to ask a lot. Which tells me there are some general gaps that many writers have in common in their novel-constructing process. I thought I’d share these questions, because maybe they’ll help you as you work on your novel.

 

Click here to read the full post on Elizabeth Spann Craig’s blog.

 

How to Promote a Book with Video

by

This post by Dana Lynn Smith originally appeared on her The Savvy Book Marketer on 5/15/13.

Videos are hugely popular online, from grumpy cats and music videos, to breaking news and movie trailers. In fact, YouTube (owned by Google) has become the second most popular website worldwide.

Today I want to share with you practical, actionable information on how to create and use video to promote your book and yourself. First, here are a few of the ways that authors can use video:

• For nonfiction authors, content-based videos (where you discuss the book’s topic) can be very effective. You can even do a series of videos dealing with different aspects of your topic. Options include “talking head” video where you are filmed speaking about the topic, demonstrations of how to do something, a slideshow with voiceover, or a combination of these. Be sure to promote the book at the end of the content-based video and include your website link. You can also work in mentions of the book earlier in the video (“Here are some of the top tips for _____ from my new book ______.”) but be sure to provide useful content rather than just promotion.

• Video trailers (short commercial-style videos, similar to movie trailers) work best for novels, narrative nonfiction, and children’s books. Usually these include a series of images and text with music or voiceover in the background, with a promotion to buy the book at the end. Don’t forget the link to your website or a short link to your Amazon page.

• Children’s book authors can post videos of book readings or related activities for kids.

 

Click here to read the full post on The Savvy Book Marketer.

 

Self-Publishing – 102

by

This post by Rob MacCavett originally appeared on The Editorial Department on 2/6/14.

And so as the sun slowly set over the peaks and valleys of composing a first book, I bid a fond farewell to creative writing as I prepared to travel through the shadowy and murky land of self-publishing. I found this part of the journey to be challenging too, my creative side forced to give way to the business world of production, marketing and sales. Some of this I did not like. I mean, why should I have had to tote this lumbering commercial baggage? I was clearly an accomplished author now!

One of the first of those bags was the legality and proper identification of my efforts. The Editorial Department’s Morgana Gallaway (I told her that her name sounded like that of an Irish flutist) led me through the maze of copyright, to ISBN’s, to forming my own publishing company—Whooping Crane Publishing. Why did I name it that? No, I’m asking you: why did I name it that? Never mind.

This might be a good place to mention the notion of using friends and family to help with chores your book has generated, like proofreading or editing. It might work for you, but it didn’t for me because (a) it’s a big, big job that (b) requires a certain expertise, plus (c) they don’t want to hurt your feelings—I paid TED to do that. Something to think about.

 

Click here to read the full post on The Editorial Department.

 

Anne Rice Owns the Bullies

by

This post originally appeared on STGRB on 1/26/14.

We’ve been meaning to write this post for a while. Sorry we are so late in doing it.
In our last post on Anne Rice, we showed you how she has been lighting up the Amazon fora with her wisdom and advice for authors. We also mentioned her unfortunate encounter with the bullies:

Note her Warning to Authors at the bottom. Unfortunately, like everyone else who has braved the discussion threads of Amazon, Anne too has noticed the hostility and general contempt that the AFT (Amazon Fora Trolls) have for authors. In fact, we published some of her comments on this topic in our post, Words of Wisdom From Anne Rice.

So… do you think she got attacked for her warning? You bet.

Has she stopped posting and offering her advice to authors? Nope.

In fact, she has responded to the trolls with such sophistication and eloquence, it seems they don’t really know how to respond to her. She’s too smart and trolls tend to be … well … not so smart.

In our post today we’ll show just how smart she is. She was immediately able to see right through the Amazon bullies and make intelligent observations that get right to the heart of the matter and reveal these nasty people for who and what they are: internet trolls. What’s more, she managed to isolate all of the most well-known trolls who stalk authors and their books simply because they have nothing better to do with their time.

First we’ll show you her general view of the Amazon bullies:

 

Click here to read the full post, which includes many screenshots of exchanges between Amazon reviewers and Anne Rice, on STGRB.

Isabel Allende Thinks We Suck

by

This post by Steve Hockensmith originally appeared on Inkspot on 2/12/14. From the post:

Waaaaaaaaaaaaaaay back in the Friendsozoic Era — which is to say the 1990s — my pal Mo Ryan edited a music ‘zine (remember those?) called Steve Albini Thinks We Suck. I always loved that name. Steve Albini was, at the time, the go-to producer if you wanted to grunge up your rock’n’roll for the flannel-flaunting masses. He had what I recall as a surly, mouthy, bad-boy streak — sort of like Liam Gallagher if he’d been born in the States and knew how to spell. So it was easy to imagine him thinking many, many, many things sucked, even the wonderful and talented Mo Ryan. (Mo told me the real reason her ‘zine got its name around 1998 or 1999, which is why I can’t remember it now.)…

I haven’t thought about Steve Albini or the ‘zine named in his honor in a long, long time. But they came to mind this week when I saw some of my colleagues in the mystery world reacting to a dis from Isabel Allende. Allende, as you might know, is a highly successful purveyor of the sort of middlebrow storytelling Barnes & Noble stocks under “Fiction” and some people call “literature.” Perhaps having grown tired of being all literary or examining the endlessly fascinating subject which is herself (Allende’s written at least four memoirs, which seems excessive for anyone who’s not Winston Churchill), she recently made the puzzling decision to write a mystery.

I call it puzzling because Allende’s been promoting her mystery by talking about how much she doesn’t like mysteries.

 

Click here to read the full post on Inkspot.