Blog Archives

Revising Fiction: Character Viewpoint

Posted on by

by Kirt Hickman

Revising Fiction

Every scene must be shown from the viewpoint of one of your characters. In general, you should show the events from your hero’s point of view. The more you show from her viewpoint, the better your reader will get to know her and the more your reader will care about what happens to her. Choose an alternate viewpoint character when:

  • Your hero isn’t in the scene.
  • Another character is in the hot seat. Show the scene from the viewpoint of the character who has the most to lose if events go badly.
  • You must convey some overwhelmingly important piece of information your hero doesn’t know.

Viewpoint Violations
Make sure your scenes don’t express something your viewpoint character wouldn’t know, like what’s happening someplace else or the cause of a phenomenon he doesn’t understand. Don’t express the thoughts, emotions, or motivations of other characters, except as they are interpreted by your viewpoint character.

When you must convey pure information, include only facts being observed, heard, or considered by your viewpoint character. Doing so makes the information immediate and important. If you provide information your viewpoint character is not experiencing, it creates either a viewpoint violation or a digression. Your reader will recognize both.

Viewpoint, however, is not just about what your character knows or doesn’t know. Your character’s viewpoint must permeate every aspect of your writing, from the portrayal of her thoughts and emotions, to setting descriptions, level of detail and specificity, narrative tone, and even your word choices.

To do this, you must know your character’s likes and dislikes, hobbies and interests, attitude, age, gender, ethnicity, socioeconomic circumstances, and background. The more you know about your character, the more real she will be to you and to your reader.

Setting
Describe your setting in a way that reveals your viewpoint character’s attitude and emotional state. Is the room cramped, or cozy? Is it cluttered, or lived in? Consider this passage:

General Chang reclined in the womb of his stronghold with his feet propped on the conference table.

What does the word womb tell you about how Chang feels when he’s in the control room of his stronghold? Later I describe this room from the perspective of my hero, who has been brought there as a prisoner. He’s not going to think of it as a womb. Your word choice must reveal the attitude and emotional state of your viewpoint character.

Let character viewpoint define how many and which details to include in your descriptions. A character who’s interested in architecture would drive down a street and notice the buildings. A character who’s more interested in cars would notice those. A cop looking for a suspect or informant would focus on the people.

When Chase, an accident investigator in my science fiction novel Worlds Asunder, approaches a crash site, he has time to take in the details that are important to his case:

Chase’s first view of the Phoenix was a mere glint of sunlight on the horizon. As he drew closer, the fuselage came into view, jutting skyward from the flat terrain like a solitary tombstone in a field of glittering metal. The effect gave a surreal beauty to the desolate scene.

The pod came to a stop at the boundary of the debris field. The ship was close now. The fuselage, largely intact, rested at an odd angle at the end of a long scar in the landscape. A debris field stretched out to the northwest. Dents and cracks that marred the hull suggested that the ship had tumbled into its final resting place. The aft section, the cargo hold, was mangled.

Chase not only notices the details but also assesses what they tell him about the crash. Contrast this with the following passage, which takes place during a gunfight inside the enemy stronghold:

Two terrorists moved before them as they wound their way through the labyrinthine passages. The defenders stopped at each intersection to fire a few odd rounds, which slowed Chase and his party, but the men never stayed in one place for long. Twice the terrorists fired through a window to bring down isolation doors and seal off part of the complex.

Here you get only a vague sense of passages, windows, and pressure doors. I left out the details because Chase has neither the time nor the inclination to notice them.

Vocabulary
Character viewpoint should also determine the language you use. People from different age groups, regions, countries, cultures, socioeconomic backgrounds, levels of education, time periods, and even genders speak differently. Write your narrative in your viewpoint character’s natural voice.

WorldsAsunder125_2Kirt Hickman is a technical writer turned fiction author. His books include three sci-fi thriller novels Worlds Asunder (2008), Venus Rain (2010) and Mercury Sun (2014), the high fantasy novel Fabler’s Legend (2011), and the writers’ how-to Revising Fiction: Making Sense of the Madness (2009).

This article was originally published in the July 2010 issue of SouthWest Sage and is reprinted here by permission of the author.



An Interview with Author C. Joseph Greaves

Posted on by

Twenty-five years of experience as a trial lawyer has given C. Joseph Greaves an edge in creating gritty true crime/historical fiction. Tom & Lucky (and George & Cokey Flo), his second standalone novel from Bloomsbury Publishing, was named one of the best books of 2015 by The Wall Street Journal. Writing under the pen name of Chuck Greaves, he’s also authored the Jack MacTaggart detective series (Minotaur Books). You can find him on Facebook and LinkedIn, and at his website ChuckGreaves.com.

Tom & Lucky200What is your elevator pitch for Tom & Lucky?
My short pitch is: Boardwalk Empire meets House of Cards. My longer pitch, from the book flap, is: The year is 1936. Lucky Luciano is the most powerful mobster in America. Thomas E. Dewey is an ambitious young prosecutor determined to bring him down, and Cokey Flo Brown—grifter, heroin addict, and sometimes prostitute—is the witness who claims she can do it. Only a courtly Long Island defense attorney named George Morton Levy stands between Lucky and a life behind bars; between Dewey and the New York governor’s mansion. This is their story.

What inspired you to write the book? What made you choose to focus on the trial of gangster Lucky Luciano and expand on the lives of those involved?
In 1999, I was having lunch with a friend whose father, George Morton Levy, had been one of the most successful New York trial lawyers of the Depression era. My friend casually mentioned that after her father died in 1977, her family packed up all of his office files and stored them in a barn in upstate New York. Intrigued, I flew to New York, rented a car, and drove to that barn where, as advertised, I found fifteen or so rusting file drawers under a moldering tarp. I spent the better part of a day rummaging the drawers until I found what I was looking for—Levy’s file entitled “People v. Charles Luciano.”

I didn’t retire from law practice until 2006, but I knew if the writing thing ever clicked, I’d someday tackle the Luciano vice case, which was one of the more colorful and controversial criminal trials in American history. I finally did so with my fifth novel, Tom & Lucky (and George & Cokey Flo). Bloomsbury agreed it would make for great historical/true crime fiction, and I hope that its recent selection as one of The Wall Street Journal’s “Best Books of 2015” repaid that faith.

Tell us about your main characters, including which point of view you enjoyed writing the most.
The four main characters are based on real people. Two of them—Dewey and Luciano—are household names, while the other two—Levy and Cokey Flo—are not. What Dewey and Luciano had in common, I believe, was the naked ambition to succeed at their chosen careers, whatever the costs might be. Because volumes had already been written about both of them, I was somewhat constricted in my fictionalization of their lives. The relative obscurity of Levy and Cokey Flo, on the other hand, left ample room for creativity, but always with the self-imposed limitation that the actual details of their lives, where known, must be respected.

It’s appropriate you mention point of view, because it plays a major role in the novel. In an effort to impose structure on the material, I decided to give voice to each of the four main characters in alternating chapters starting in 1914 and continuing through the trial in 1936. In order to make their voices unique, I wrote all the Luciano chapters in the present tense (the rest are past tense), and all the Cokey Flo chapters in the first person (the rest are third person). My favorite character to write, hands down, was Cokey Flo, and so I was pleased when several reviewers singled her out as their favorite.

Is there a scene in the book you’d love to see play out in a movie?
Structurally speaking, the book is naturally cinematic because it’s written in such a way that each chapter reads as a stand-alone scene. In his review, Tom Nolan of The Wall Street Journal noted that the book has “the wild energy of a 1930s Warner Bros. crime-movie,” and that is no accident. Because the cast of characters, both major and minor, is straight out of Damon Runyon—over forty madams and prostitutes testified for the prosecution—any chapter would hold its own on screen. But if forced to do so, I guess I would choose the chapter in which Lucky Luciano, in 1931, engineers the execution of Giuseppe “Joe the Boss” Masseria during a card game in a Coney Island restaurant. Each man had come to the restaurant expecting to witness the other’s murder, but Lucky outsmarts and outmaneuvers his rival, whose elimination paves the way for Lucky to gain control of the New York underworld.

What unique challenges did this work pose for you?
Writing the novel involved a ton of research, not just into the underlying events and characters, but also into the clothes, language, customs, settings, and attitudes of the era. The biggest challenge in writing Tom & Lucky was finding a new and compelling way to tell a story that had already been told in at least a dozen previous works of nonfiction. Also, to do so in a way that cut through the myth that’s grown up around Lucky Luciano and expose the man behind the legend. There’s a line in the book’s afterword to the effect that “Luciano’s was a life lived mostly in secret, and chronicled mostly in hindsight.” I knew part of the book’s audience would be organized-crime aficionados and, believe me, they will not suffer even the smallest of inaccuracies. If you think gun experts are tough on crime writers, you haven’t lived.

HardTwisted-US150Tell us more about Tom & Lucky and how it came together.
I knew Levy’s files contained historical documents and information that had never been made public. (Some of those documents can be viewed on my website: ChuckGreaves.com.) I almost felt a moral responsibility to use those documents to explode the accepted narrative of Tom Dewey as the incorruptible special prosecutor and Lucky Luciano as the sinister whoremonger. (Remember, it was the Luciano prosecution that launched a political career that nearly carried Dewey to the White House.) The truth, you see, was a lot more nuanced, and if my readers come away with that understanding, then I will have succeeded in my mission.

I started researching the book in earnest in mid-2013, after finishing The Last Heir, my third Jack MacTaggart mystery for Minotaur. I spent six months or so doing pure research, then another year writing the book, which came in at around 120,000 words, making it my longest to date. The editing required was minimal—just copyediting, really. I also wrote a couple of feature-length articles in advance of the book’s publication; one for the ABA Journal, the monthly magazine of the American Bar Association, and one for Informer, the preeminent magazine for organized-crime buffs. After that, it was up to Bloomsbury.

Why did you decide to use a pen name for your true crime novels?
It wasn’t my idea, believe me. By the time I finally landed an agent (after winning the SWW Storyteller Award in 2010), I had written both a mystery novel (Hush Money) and a literary/historical/true-crime novel (Hard Twisted). We sold the mystery to Minotaur, which generally doesn’t publish literary fiction, and then the historical to Bloomsbury, which generally doesn’t publish mystery. To avoid reader confusion, Bloomsbury wanted me to use a pen name, since Hush Money was such a different novel than Hard Twisted, was ahead of Hard Twisted in the pipeline, and would appear under the name Chuck Greaves. I, however, didn’t want to spend the rest of my life writing as Mildred Pfefferman if, in fact, the mystery novels failed and the historical novels succeeded. We finally settled on variants of my real name, which is Charles Joseph Greaves.

What are the hardest kinds of scenes for you to write?
This is a great question, and one that every writer should confront at some point in his or her career. I’ve concluded, after five published novels, that my greatest weakness as a writer is a reluctance to drill down into my characters’ inner emotions. When I read authors who can do that credibly and seemingly without effort, I am in awe. It’s something I’m always working on.

Being an experienced trial lawyer has allowed you to write realistic courtroom scenes. What other ways has your former profession affected your writing or your journey to publication?
I’ve observed that there are three professions which are overrepresented in the universe of successful authors: journalism, law, and advertising. The reason, I believe, is that all three involve a reductive writing process—the art of making the complex simpler, whether it’s a news story, a fact pattern, or a product. The twenty-five years I spent as a lawyer, and the innumerable briefs and motions that I wrote along the way, were of enormous benefit in teaching me to tell a succinct story in a compelling way.

The Last Heir150You have three novels in your Jack MacTaggart series published by Minotaur Books (Hush Money, Green-Eyed Lady, and The Last Heir). What are the challenges in writing a series? Would those who know you recognize you in the main character?
Jack MacTaggart is handsome, funny, smart, and fearless, so there’s no chance in hell anybody would ever recognize me. As for writing a series, I think it’s wonderful for as long as you, the author, still enjoy your characters’ company. One piece of advice I give to new authors is: be sure to choose as your subject matter a story you’re prepared to live with, every waking hour, for a year or longer. Or, in the case of a series, for many years to come.

Have you considered indie publishing for future projects?
Funny you should ask. I’m currently working on two projects, one of which may end up as my first indie venture, in that we’re writing purely on spec. I say “we” because my dear friend Deborah Coonts and I decided, after a few too many glasses of wine, that it was high time our respective series characters (her Lucky O’Toole and my Jack MacTaggart) finally met. We’re in the midst of writing a madcap caper novel involving baseball, Las Vegas, and hit men. God knows where it will end up, but I can assure you we’re having a blast getting there.

Is there anything else you’d like readers to know?
It was Dorothy Parker who said, “If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.” These are words to live by.

KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.



The Writing Life: In Defiance of the Norm

Posted on by

by Olive Balla

Olive Balla245Here’s the commonly accepted drill in the quest for publication:

  • Take a few creative writing classes.
  • Buy a library full of treatises on how to write the great American novel.
  • Write a great 60,000-word to 100,000-word story that’s equal parts plot- and character-driven.
  • Re-write and edit.
  • Give your novel a unique and intriguing title.
  • Develop an impressively bulging platform on Facebook, Twitter, LinkedIn, and any other of the hundreds of social networking sites you can access.
  • Re-write and edit again.
  • Create, pay someone else to create, or have your nephew create a brilliant website upon which you regularly write witty and pithy blog posts.
  • Take a class on guerilla marketing strategies, since you’ll be required to market your own book.
  • Re-write and edit some more.
  • Brush up on the art of contract negotiations, or hire a literary attorney to represent you in negotiations with Big Publishing.
  • Craft a succinct yet compelling Query, Synopsis, and Pitch.
  • Re-write and edit yet again.
  • Find the one-in-a-thousand agent who represents your genre, and more importantly, who is willing to be queried by the as-yet-unpublished.
  • Be prepared to give copies of your book to bloggers, Goodreads reviewers, and friends and family.
  • Eschew indie or self-publishing as the last resort of those lost souls doomed to forever wander in the wilderness of literary untouchables.

But wait. Apparently the wonderful world of technology is in the process of rendering all the above so much balderdash.

Ever heard of Hugh Howey? According to Forbes, thousands of copies of this 37-year-old man’s science fiction novel are selling on two continents at this very moment. How did he do it?

Howey carefully and slavishly stuck to the accepted blueprint for publishing success, right? Wrong. Howey’s path to household word-dom bears little resemblance to the standardized version drilled into our heads by agents, authors of publishing how-to books, and guest speakers at writers’ conferences.

Well then, Howey certainly must have spent at least 10,000 hours honing his writing skills—the number of hours Dr. Anders Ericsson’s research on expertise indicates is necessary to become really good at anything. (That would be 1,250 eight-hour days doing nothing but writing.) Wrong again. Evidently, Mr. Howey spent most of his years adventuring on his boat, rather than practicing his writing.

So how did Hugh Howey attain his position in the rarefied stratum of Consistent Best Sellers? Let’s compare and contrast, as my college English professor used to say, the universally accepted means to achieve publication with Howey’s path—the path currently being sneered at by the mentally-concretized literati:

  1. Howey must have given his novel a brilliant title, right? Um, no. He named his series Wool. Could have just as easily been Cotton or Crepe for all the excitement his title elicits.
  2. He must have a ponderous platform, with thousands of Twitter and Facebook followers. No again. At the time of the Forbes article, he didn’t even have a website or blog. Instead, his time and creative energies were fully focused on writing his novels.
  3. He must at least be a radio or television star with untold numbers of fans avidly awaiting his book. Wrong. Until he published his own book on Amazon, his name was basically known only to friends and family.
  4. Once Howey self-published, no self-respecting Big Publisher or agent would look twice at him. Wrong yet again. Not only has he been picked up by Simon & Schuster, but he’s now dickering for movie and television series rights—both foreign and domestic.

Howey’s self-published success is most assuredly not the norm. And although his prose is top-notch, there are lots of self-published novels that, even to my bourgeois palate, seem less than stellar. In fact, there are some offerings out there that scream “first draft.” (Even at that, many of them are bestsellers—go figure.)

The point is that the times they are a-changing. Remember that old story about the buggy whip manufacturer who adamantly refused to change with the times? The company’s upper management asserted that the automobile was just a meteoric fad. And the same was said about computers.

We writers are faced with the same kind of choice. We can either take the standard, recommended path to publication (and I’m not denigrating that), or we can throw ourselves headlong into the mega-trend that’s building momentum in ePublishing and self-publishing.

In a conference I recently attended we were given the chance to question a panel made up of four literary agents (one from Santa Fe, three from New York), and an ePublishing guru. An attendee asked the panel what her chances of attracting an agent would be if she first chose to go the self-published route. The agents semi-sternly admonished her against taking the self-pub road less traveled. But the ePublisher expounded on the joys of doing your own thing, at your own pace, and reaping all your rewards as opposed to sharing with Big Pub and an agent. While even the ePublisher warned against using a vanity press, every other do-it-yourself avenue seems to be fair game.

My caveat: make sure your novel is as polished, edited, and tight as you can make it before sending it to the printers or out into the ether. Unlike with software and hi-tech gadgets that are commonly marketed before being completely debugged, the public will not help you clean up your novel. They’ll find someone else’s story to read, and word-of-mouth can torpedo your lazy booty right out of the water.

So, you can work for months or years on a novel, and then wait more months or years while trying to find an agent who may or may not be able to sell your “baby,” or you can do it all yourself.

It boils down to how ready and willing you are to take a chance. Roulette anyone?

AnArmAndALeg72Olive Balla, author of suspense novel An Arm and a Leg, is mother of 3, grandmother to 13, great-grandmother of 4, a retired educator, and part-time professional musician. Having been everything from secretary at a used car dealership, a university student, and a high school Spanish teacher, Balla states her characters are, in part, amalgamations of people she’s met. Living with her husband Victor in the Albuquerque area, she spends her spare time in a small woodworking shop designing and building everything from breadboxes and wine racks, to a porch bench. Visit her website at omballa.com.

This article was originally published in the January 2014 issue of SouthWest Sage and is reprinted here by permission of the author.



The Writing Life: Finding the Fight and the Fun in Your Work

Posted on by

by Sherri Burr

SherriBurr

Recently, fortune blessed me with the opportunity to watch live tennis at a high-level tournament in Ohio. As I observed tennis star Serena Williams fight back after losing the first set to win the next two sets and claim the match, I thought about how much we writers can learn from her determination to succeed.

Just as tennis players face the constant threat of losing points, games, sets and matches, we writers often confront rejection. Author Gregg Levoy (This Business of Writing) once told a SouthWest Writers audience that if you are not constantly receiving rejection letters, you are operating too far into your comfort zone. I initially thought this harsh as no one wants to receive rejection letters. But his larger point resonated. If you constantly put out work that gets accepted, perhaps you are not challenging yourself to go to the next level. Are there higher levels of publications that you have not submitted to for fear of rejection? This is like the tennis player who only plays players who are worse than they are. Where’s the test? Where’s the opportunity?

By daring ourselves to query top book and magazine publishers, we increase our risk of rejection but we potentially set ourselves up for great rewards. Tennis players know that if they want to win the big tournaments, the Grand Slam events, they have to constantly improve their games. This requires honest assessments of weaknesses and strengths. Do they have an accurate serve, which allows them to claim free points? Or a weak serve that leads to double faults? Do they have a lightning-accurate forehand, or one that constantly sails long? Is their backhand hit with power, or does it soft-land on the other side of the net and permit the opponent to hit a punishing return?

For writers, do we write articles with humor, or do our attempts fall flat? To predict an audience’s reaction requires test driving the material. This is where critique groups that require writers to read their submissions can be absolutely critical to writer success. As you deliver your words out loud, you can obtain an instant reaction as to whether the material is hitting the intended emotional cues. If your critique group members react by laughing out loud or crying, then you know you are hitting the right level. If there is no reaction, then you know you have to go back to the drawing board.

This is why I prefer critique groups whose members read the material compared to those who pre-send the material by email and then discuss it when the group meets. In the former, you can instantly see the reaction. In the latter, the person might tell you they found something funny but you won’t know how funny. Were they falling out of their seat with laughter or did a bemused look cross their brow?

Similarly in tennis, a speed gun measures the serve. Players don’t have to guess how fast a serve was, they know. After Croatian player Marin Cilic won the 2014 US Open, he was interviewed about his suspension for four months during 2013 for having a banned substance in his urine tests. Cilic used the time to practice his serve and to work on finding the enjoyment in his game. Others might have spent the four months in “woe is me” mode. Instead, Cilic used it as an opportunity to improve.

When life gives an opportunity to remove ourselves from the normal and reassess, take it as a golden opportunity to improve. Examine weaknesses and strengths. Find the fun in your work. That’s where long-run success lies. That’s where the willingness to fight in difficult moments arises. At the Ohio tournament, Serena Williams battled from a set down to win the semi-final match against Caroline Wozniacki. She won her next match in straight sets and the U.S. Open for the sixth time by beating the same opponent in the finals. Williams took note of her earlier struggles and improved her game.

For writers, progress can come from reading and writing daily, as well as signing up for writing courses. When writing is fun, abandoning your life’s work never enters your mind. You commit to fight until the last letter is struck on your keyboard. Writers don’t retire; the ideas keep flowing until they take their last breath. Challenge yourself to submit to different publishers. The successes may surprise and amaze you.

A Short and Happy Guide to Financial Well BeingSherri Burr is the Regents’ Professor of Law at the University of New Mexico School of Law where she teaches Entertainment Law, Intellectual Property Law, and Art Law. A graduate of Mount Holyoke College, Princeton University, and the Yale Law School, she has authored or co-authored 20 books, including A Short and Happy Guide to Financial Well-Being (West Academic, 2014). Sherri is also a long-time member of SouthWest Writers and a regular contributor to the organization’s newsletter SouthWest Sage.

This article was originally published in the October 2014 issue of SouthWest Sage and is reprinted here by permission of the author.



An Interview with Corrales Writing Group: On Group Structure and Indie Publishing

Posted on by

Corrales Writing Group is a closed group of six members who encourage each other in their individual writing journeys and together produce an annual anthology of essays and short pieces of fiction and memoir. The current group is made up of authors Christina Allen, Maureen Cooke, Sandi Hoover, Thomas Neiman, Jim Tritten, and Patricia Walkow. Their third anthology, Currents, was published in 2015. You can visit Corrales Writing Group on Facebook. For part two of this interview, go to “On Writing.”

Currents Corrales Writing Group 2015 Anthology200If you were pitching your anthology to an agent, how would you describe Currents?
Currents is an anthology to which six writers have contributed. All contributors live in the Village of Corrales, on the western flank of the Rio Grande in New Mexico. The members of the group share a love for New Mexico, and in particular, a love for the Village. Currents is the third anthology the group has produced, and over time, the constant flow of ideas and critically valuable suggestions has enriched not only our writing, but also our lives.

It’s typical for works in an anthology to share a common theme, but this isn’t true of your anthologies. Why did you decide not to write to a theme?
While it is true most anthologies share a common theme, the only common theme in ours is the place where the writers live—Corrales. One of the benefits to this approach is that the anthology may offer something for everyone. Another is that the book’s targeted audience does not expect a single-topic theme.

The members of your group do all the work necessary to bring your books to market. What kind of learning curve did you go through to accomplish this? What was your most helpful resource?
Although all members of the group are comfortable using a computer, there are varying degrees of computer literacy within the group. Three of the members spent many years working with computers and applications in their chosen professions. These were the first editors, and they found the process quite straightforward, without specific training needed. The other members of the group are learning from their experience, as the first three editors have prepared guidelines and processes for the subsequent editors to follow. We explored various independent publishing options and selected CreateSpace and Kindle Direct Publishing based upon ease of use. Frankly, anyone can master their templates.

Each year your group rotates the duties necessary to publish your books. Why did you decide to do this?
We decided to rotate the duties so that: (1) every member of the group gains the knowledge necessary to do each task required to publish a book, and (2) the same task does not fall on one or two people all the time. Editing is quite time-consuming and involves not only the technicalities of grammar and punctuation, but also the layout of the book, developing back and front cover options, the assignment of work, and the development and management of a schedule with a publication date at the end. The editor manages the work to meet the scheduled publication date. The members of the group meet their due dates on their tasks. It’s a project, and the editor is the project manager.

How long does it take to put the anthologies together after the stories are complete? What is your typical editing/publishing timeline?
The writing and review process for the coming year’s anthology begins in December, right after the current year’s anthology is published in November. So the timeframe to write all the pieces and review them runs from December of one year through mid-July/early August of the following year. The editing process begins in August, and involves not only the editor, but each member of the group who is given specific editing assignments managed by the editor.

Each piece in the anthology will be critiqued a minimum of two times within the group before the piece is considered for publication in the anthology. During the creation of the book itself, each submission is reviewed probably another four times to include thorough reviews for formatting, grammar, and consistency with other chapters.

Usually at the end of all the editing, proof copies are produced and another round of editing is done. A second proof is always produced, and sometimes a third. Kindle editions are not produced until the final paper version is ready. Proofs for Kindle editions are handled online. Members share the responsibility of reviewing the final product in all the different Kindle platforms offered. The final paper version is not published until the Kindle edition is approved since we have learned that many formatting issues are not seen until reviewers look at the various Kindle platforms.

Corrales Writing Group 2014 Anthology150What marketing strategies have brought your anthologies the most success?
Our business plan was to establish an LLC (Limited Liability Company). We market our products through Amazon, Kindle, local retail sales, Facebook, Goodreads, newspapers, local media and launch parties. Since we have remained financially solvent every year, the group’s plan is to continue independently publishing our books (paperback and Ebooks) into the future.

What are the goals of your writing group? How do you ensure potential members are a good fit?
Individual members of the group have their own goals, but as a cohesive entity, the group seeks to achieve recognition in the writing community, as well as win awards; awards, however, are not the primary focus. Developing our craft of writing is very important to our members. In addition, in order to continue operations, the group needs to maintain fiscal solvency. Costs are constrained to permit continued annual self-sustained publication within realistic expectations of annual sales.

We have learned it is best to have potential members of the group attend a meeting and decide if what we do and how we do it is something they might be willing to commit to, long-term. Commitment is a key success factor for our group. We review each other’s work before a meeting, come prepared with each piece critiqued and commented. On the rare occasion members can’t attend a meeting, they’re still expected to send their comments to the writer. Common computer literacy is another requirement of being a part of the group. It includes the use of Microsoft Word not only to write, but also review and critique. Electronic file organization is required as is the ability to effectively use websites, such as CreateSpace and Kindle Direct Publishing. Although reviews are done face-to-face at our meetings, the actual comments and critiques are sent to each other electronically.

We are a closed group and no longer accept beginning writers. As a group we have come far from those early days, and we’ve learned it’s not productive for our members to be teaching a new writer all the time. Nor is it fair or healthy for a prospective writer to be overwhelmed. However, we do encourage new writers to form a group of their own, and will help them with what we have learned along the way. We have taught writing classes in New Mexico at the Corrales and Meadowlark Senior Centers.

Take us through a typical group meeting. How are your meetings structured?
We meet every two weeks, usually at a restaurant. Sometimes we rotate our meetings in members’ homes. One person is the facilitator of each meeting. Another person is the scribe who keeps the notes. We start by doing our reviews of new and 2nd review work. Usually we do about three to four reviews at each meeting. We use a structured process we adopted with the assistance of Rachel Hillier (associated with Central New Mexico Community College), who the original group hired to help with some aspects of writing. From our six weeks with Rachel, we have a set of standard questions we consider each time we review a piece. Writers are free to have each reviewer answer additional questions, also. Once the reviews are completed, we begin the business meeting. The Corrales Writing Group is an LLC, and we review old business and discuss new business. We assign dates for people to present their work and make any other assignments necessary for the group to function.

Corrales Writing Group 2013 Anthology150What makes a good critique group member?
Adhering to our process is a great help to the writer. We expect our members to use our standard critique questions. Not that those questions stop a reviewer from making other comments. The reviewer needs to critique the writer’s work in a way that makes it clear what is working well in the story, as well as what is unclear or repetitive, and to let the writer know what the reviewer thinks the story really is all about. The objective is not to tear anyone down, but to build up the writer. The writer always retains the right to make or not make changes based on the critiques. In general, if two or three reviewers find the same problem, the writer really should pay attention to it.

For those who might want to organize their own writing group with the goal of publishing, what steps do you suggest they take?
Hire or consult with someone who leaves you with a viable critique process. Make sure everyone understands being a member of the group is a commitment. Learn from those who have already independently published. Consider hiring a publishing entity, if necessary.

One of the strengths of your group is how well you get along—you even socialize and travel together. What do you attribute this to?
The members of the group respect our different backgrounds, opinions and experiences. It is key to our getting along…along with wine and lots of laughter. The process we use helps. Nothing is personal—it’s about the writing. We know each other’s strengths and use them effectively.

KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.



The Challenges of Writing Historical Fiction

Posted on by

by Chris Eboch

AdvancedPlotting200

Hot trends may come and go, but for some writers and readers, nothing takes the place of great historical fiction. So in honor of Black History Month (February) and Women’s History Month (March) let’s look at this enduring genre. It can explore any period, from ancient—even prehistoric—times, to recent decades (that’s right, your childhood is now historical). The best books let readers explore a fascinating time in the past, through a character who appeals to modern tastes.

Research
Regardless of the time period, historical fiction requires heavy research, in books, online, at museums and through interviews. D. Anne Love has published seven historical novels for young people, including The Puppeteer’s Apprentice and Semiprecious. “Although the former is set in medieval England and the latter in Oklahoma and Texas in 1960, my research process for both books was similar. I read as many primary sources (diaries, letters, journals) as possible, and followed up with other books on the topic. I conducted much of my research online, but I also used libraries for hard to find materials. For Three Against the Tide, a Civil War novel set in Charleston, South Carolina, I visited the area five times, taking photos, notes, and visiting local libraries and historical societies.”

With all this research, authors must be organized. Albuquerque author Lois Ruby (Shanghai Shadows), says, “I take extensive notes, each fact on a separate index card, all arranged by detailed subject. I do about two years of research before I even begin writing, then recheck for details after the writing is underway.”

By nature, historical fiction writers love research and the minutia of the past. But resist the urge to include every fascinating detail. Patricia Curtis Pfitsch, author of Riding the Flume, says, “I read my work aloud and I tune my ear to anything that sounds too ‘teacherly.’ I keep reminding myself that it’s not nonfiction. It’s okay if the readers don’t learn everything I learned.”

Mary Ann Rodman, author of Yankee Girl, agrees. “Sometimes it’s hard to keep from showing off all that research you did! For me, a detail only works if it adds to the story in some significant way. If I am unsure, I ask myself ‘Would I include a comparable detail, if this were a contemporary story?’”

The People of the Past
Character is key in bringing stories to life, and in making the past appeal to today’s readers. Love notes that, “I try to show young readers that although we may be separated by hundreds of years from the characters in books, their emotions, goals, struggles, and dreams are very much like our own.”

Historical characters must be appealing, yet believable for their time. “I have to watch myself carefully for ‘thought anachronisms,’” Rodman says. “I like strong, feisty female characters, but if you are going to have one in a book that takes place in the pre-feminist world, you better have a good reason for her behavior.” Changing social standards produce another challenge. Rodman adds, “It is really hard to write characters who have what are today considered racist or sexist beliefs (but were widely accepted in their time) and make them likable…or at least not villains. I hope that my books show the complexity of events that shaped the way we live in twenty-first-century America.”

Character authenticity is one of the big challenges of historical fiction, but authors risk confusing readers if the language is too authentic. Doris Gwaltney suggests, “In some instances, as in my Elizabethan novel, Shakespeare’s Sister, the language had to be altered a bit for today’s readers.” She kept the basic language clear, and then “I threw in a few words of the period to create the flavor of the time.”

To Market
Like the authors who write it, the editors who publish historical fiction tend to love the genre. Dianne Hess, Executive Editor at Scholastic Press, says, “We learn from the past. History repeats itself when we are unaware of it. I also feel that we appreciate the value of life when we see it as a continuum.” However, she notes, “As an editor, I’m charged with publishing books that will make money. We need to find books that will have a significant readership.”

An unusual setting may attract attention, but the story comes first. According to Jennifer Wingertzahn, Editor at Clarion Books, “More important than time period or location, I feel, is a fresh and unique story. It’s not enough to simply set a story against an exciting historical backdrop—readers want depth, layering, texture, and vivid characterizations.”

The path to great historical fiction is clear: A spark of inspiration, months of research, carefully chosen details to bring the setting to life, and a dynamic character who appeals to today’s readers, while expressing the differences of her time. With a little luck, the end result is a book that will last long beyond modern trends.

BanditsPeak150Chris Eboch writes fiction and nonfiction for all ages. In Bandits Peak, a teenage boy meets strangers hiding on the mountains and gets drawn into their crimes, until he risks his life to expose them. The Eyes of Pharaoh is an action-packed mystery set in ancient Egypt. The Genie’s Gift is an Arabian Nights-inspired fantasy adventure. In The Well of Sacrifice, a Mayan girl in ninth-century Guatemala rebels against the High Priest who sacrifices anyone challenging his power. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog. Sign up for her Workshop newsletter for classes and critique offers.

Chris also writes novels of suspense and romance for adults under the name Kris Bock; read excerpts at www.krisbock.com.

This article was originally published as “The Stories of History” in the February 2011 issue of SouthWest Sage and is reprinted here by permission of the author.



Revising Fiction: The Seven Deadly Sins of Writing Dialogue

Posted on by

by Kirt Hickman

Revising Fiction

Realistic dialogue is one of the most difficult things for some writers to achieve. Compressing your dialogue to as few words as possible will help. If you’ve done that and the dialogue still rings false, look between your quotation marks for these deadly sins.

Everyday Dialogue
Skip the pleasantries every reader knows occur at the beginning and end of a conversation:

“Hi.”
“How are you?”
“I’m fine. How are you?”

It’s boring. Start the conversation at the point where it becomes interesting.

Informative Dialogue
Never have a character say something that everybody in the conversation already knows.

Consider this passage from an early draft of my science fiction novel Worlds Asunder in which Snider speaks with the manager of Stellarfare, a commuter starline:

“May I remind you,” Snider said, “that NASA is your regulatory authority. I can revoke your license to fly from Lunar Alpha.”

“Don’t bully me. NASA is funded by taxation of the businesses that operate from its bases. Stellarfare alone supplies a third of that funding for Lunar Alpha.”

Both characters know this and the only person who doesn’t know this is the reader. That’s who these characters are talking to, not to each other.

Informative dialogue can often be corrected by moving the information from the dialogue to the thoughts of your viewpoint character:

“I’ll revoke your license to fly from Lunar Alpha.” Snider’s voice shook with forced civility.

“Don’t bully me. Revoke our license and it’ll be the last thing you do as director. When you’re replaced, we’ll return.”

He was right. Damn it, the manager was right. Stellarfare provided a third of NASA’s funding for Lunar Alpha. Snider’s threat had only solidified the man’s resolve.

Direct Address
Direct address occurs when a character says the name of the person he’s addressing:

“What time is it, Jennifer?”
She consulted her watch. “Four o’clock, Tommy.”

Notice how natural the dialogue feels when I remove the characters’ names from the spoken lines:

“What time is it?” Tommy asked suddenly.
Jennifer consulted her watch. “Four o’clock. “

Self-talk
Often, when a character talks to himself, the author is using contrived dialogue to relay the character’s thoughts, as is done in this passage from a critique submission (reprinted with the author’s permission):

“I feel like I’ve been run over by a Mack Truck,” he moaned. “Where am I anyway?”

He rolled his eyes from side to side and tried to think. “I can’t see a thing,” he said aloud and tried to sit up again. This time the ground moved beneath him.

“Oh oh,” he said. “An earthquake?” He tried to concentrate. “Naw. It’s not like that at all. It feels more like ball bearings rolling around under me.”

Because your scene is written from your character’s viewpoint, you can communicate his thoughts without having him say them out loud:

Luke’s body ached like he’d been run over by a Mack Truck. He rolled his eyes from side to side in the darkness to clear his head.

The earth began to shake. Not like an earthquake. More like ball bearings rolling around beneath him. “Whoa.” It was the strangest thing he’d ever felt.

Mismatched Dialogue, Actions, and Emotion
Consider the following passage:

Jorge slammed his fist on the table. “Well, you know, I really don’t think that’s such a good idea.”

If the speaker’s words are inconsistent with his actions, the reader won’t believe whatever emotion you’re trying to show. Make your character’s dialogue match his emotions:

Jorge slammed his fist on the table. “Over my cold carcass.”

Overuse of the Exclamation Point
Reserve exclamation points for when your character is genuinely shouting.

Neglecting to Read Out Loud
Once you’ve purged all of the sins described above, read your dialogue scene out loud for sound and pacing. Does it sound natural? Does it have the rhythm of speech? Is it tense and engaging? Have you achieved the desired pace? Only then will you know if it’s effective.

WorldsAsunder125_2Kirt Hickman is a technical writer turned fiction author. His books include three sci-fi thriller novels Worlds Asunder (2008), Venus Rain (2010) and Mercury Sun (2014), the high fantasy novel Fabler’s Legend (2011), and the writers’ how-to Revising Fiction: Making Sense of the Madness (2009).

This article was originally published in the June 2009 issue of SouthWest Sage, and is reprinted here by permission of the author.



An Interview with Author Jasmine Tritten

Posted on by

Jasmine Tritten is an author and artist whose grand adventure from her native Denmark to the Americas was decided by the flip of a coin. She now makes her home in Corrales, New Mexico with her husband, her very own Prince Charming. The memoir Journey of an Adventuresome Dane (2015) is Jasmine’s debut book. You can find her on Facebook and LinkedIn, and see examples of her oil paintings at New Mexico Artists’ Market. For a complete listing of Jasmine’s published work, go to her SWW Author Page.

Journey of an Adventuresome Dane200What is your elevator pitch for The Journey of an Adventuresome Dane?
I left my home country Denmark at age twenty-one seeking adventure. I took chances and overcame fears and obstacles. My memoir depicts my evolution—an odyssey across time and space.

When readers turn the last page of your book, what do you hope they will take away from it?
Inspiration to write about their own lives. Maybe the courage to take the risk of changing their lives for the better.

What unique challenges did this work pose for you?
I had to decide how vulnerable I wanted to be and dig deep into my memory bank to find the most life-changing incidents.

What was the most rewarding aspect of writing your memoir?
Getting an overview and perspective of my life, processing emotionally charged episodes by reliving them.

Tell us about your process in putting the book together.
It took me about three years to write the book. I already had most of the stories in my head. The details came from two sources: journals I had written since I was a teenager and letters I had written to my mother every two weeks since I left Denmark in 1964. She kept all the letters in an old oak trunk. Each time I visited my mother in Copenhagen during the last four years, I brought some of the letters back with me to New Mexico. For the editing cycle, I belonged to a critique group for one and a half years. Also several times I put my writing away for six months, then looked at the work again with new eyes and revised it over and over again.

What makes this book unique in the memoir market?
There are not many written immigration stories except for the obvious Roots. Also, I am the first person in my Danish family, going back hundreds of years, who immigrated.

When did you know you wanted to write your story? What prompted the final push to begin?
Just before my 70th birthday, I waited to zip-line in Angel Fire at 10,600 feet. When I looked down, I saw my life in front of my eyes and decided to sum together those highlights in a book.

What did writing your memoir teach you about yourself?
I am a strong, optimistic, creative person with a positive outlook and a zest for living life to the fullest. I am not afraid of tackling what life has to offer.

How has your artistic nature helped you in your writing journey?
Some people tell me I paint pictures with words. I am an ultra-sensitive soul. Maybe because of that it is easier for me to describe what I see and feel.

What part do beta readers or critique groups play in your writing process?
Both are extremely valuable to my writing process, and I am grateful for each person who volunteers to critique my writing. I try to help other writers in a similar way and learn a lot from each person.

What is your writing routine like?
I don’t have a schedule. Since I am both a writer and an artist, I switch between the two. Many times I wake up at four in the morning with great ideas. Quickly I put them down on paper to be typed later. In 2014, I participated in National Novel Writing Month (NaNoWriMo) as a Rebel [choosing to write other than a novel] and wrote over 50,000 words toward my memoir.

If you suffer from writer’s block, how do you break through?
By journaling.

Who are your favorite authors, and what do you admire most about their writing?
I greatly admire fellow Dane Karen Blixen (also known as Isak Dinesen) who wrote Out of Africa, for her strength and adventuresome spirit. She wrote such wonderful descriptions. I identify with her in many ways. Also, Elizabeth Gilbert in Eat-Pray-Love for her sense of humor, and Wayne Dyer for his honest, spiritual, and inspirational approach in all of his books.

What do you think draws readers to memoirs and biographies?
Personally, I am interested in other people’s lives, how they got to where they are, and how they overcame their obstacles or fulfilled their dreams.

KLWagoner150_2KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. She has a new speculative fiction blog at klwagoner.com and writes about memoir at ThisNewMountain.com.



Grammatically Correct: Mixed Constructions Nonsense

Posted on by

by Dodici Azpadu

061957-firey-orange-jelly-icon-people-things-people-singing200As writers, we can be lulled by careless speech into thinking that what we hear is correct on paper.

The reason the Yankees lost the series was because of their pitching.Sounds correct, doesn’t it? Phrases like the following often result in mixed construction: is when, is where, the reason … is or was.

These words suggest place, time, and causality; however, place, time, and causality often do not make sense with the verbs is, are, was, or were. After forms of the verb to be (is, are, was, were), a noun that renames the subject or an adjective that modifies the subject is customary. In the example above was is followed by an adverbial clause because of their pitching. The correct way to write the sentence is:

The Yankees lost the series because of their pitching.Misplaced, Limited and Dangling Modifiers
Mixed constructions are frequently related to misplaced and dangling modifiers because errors in these groups do not make logical or grammatical sense. Misplaced limiting modifiers are epidemic in speech. Use the following limiting modifiers cautiously: only, even, almost, nearly and just.

I only want my father to pay for tuition.In this sentence, only modifies the verb want. Surely the speaker has other wants. Do not put a limiting modifier in front of a verb, unless you intend to modify the verb. The rule is to place a limiting modifier directly in front of the word or words it modifies. The meaning of a sentence changes depending on where only is placed.

I want only my father to pay for tuition.
I want my father to pay for tuition only.Consider another example of a misplaced limiting modifier.

I just went to the grocery store, not to the bar.Just modifies went, but to what purpose? Correctly written, just limits grocery store, not went, as in the example that follows.

I went just to the grocery store, not to the bar.Sometimes you do want to limit the verb, as in the following example.

Sometimes, I can’t even find the keyboard, much less strike the keys.You may leave the grammatical subtleties to a paid copy editor, or you can save money by avoiding the faulty construction, which is often wordy as well as incorrect.

TracesOfAWoman100

Dodici Azpadu, MFA, PhD is a novelist, short story writer, and poet. Her fiction publications include: Saturday Night in the Prime of Life and Goat Song (Aunt Lute/Spinsters Ink) and subsequently Onlywoman (London, England). Living Room (2010) and Traces of a Woman (2014), both by Neuma Books, are available as ebooks. She’s currently at work on a novel, tentatively titled Living Lies.

WearingThePhantomOut100Her poetry publications include Wearing the Phantom Out (2013) and Rumi’s Falcon from Neuma Books. Individual poems have appeared in Malpais Review, Adobe Walls, ContraACultura (online), Parnassus, Sinister Wisdom, Latuca, The Rag, and The Burning Bush. Her work has also been anthologized in Centos: A Collage of Poems and Hey Pasean!

Dodici teaches “The Joy of Poetry” and “Craft of Creating Writing” classes through University of New Mexico’s Osher Lifelong Learning.

This article was originally published in the June 2011 issue of SouthWest Sage and is reprinted here by permission of the author.



The Writing Life: The Good Fight

Posted on by

by Olive Balla

Olive Balla245

The current economy has become a tough sparring partner for those of us who dream of seeing our stories in print. Many budding writers, after having been rejected for the umpteenth time, are tempted to crawl off into a corner and lick their wounds while hugging their latest manuscript to their bosoms. After finally getting a bellyful of rejection, a friend of mine—a published playwright with two sold and performed plays under her belt—has permanently packed away her storytelling persona. That’s not only sad, but it’s a loss to our culture.

It’s not that I can’t relate to my friend. I can.

More than one agent has responded to my email query with words decrying harsh fiscal realities and suggesting my story might be marketable in less turbulent times. One soft-hearted agent actually apologized for turning me down. She offered words of comfort, saying her refusal did not mean my writing was not good; in fact, she’d spent a great deal of time in making her decision, but she could only accept authors who were a “surefire” sell.

So, where does that leave those of us who are not of the J.K. Rowling ilk? What are the options available to those of us who would be thrilled just to have our work out there, and hopefully, being read—even if our readership might not number in the tens of thousands? The good news is that there are still some avenues open to today’s writers.

Many authors are opting to self-publish, shouldering the task of marketing their own books. This approach can not only cost a great deal of the author’s up-front money, but is heavily contingent upon the amount of time the author is willing, or able, to put into selling herself.

Other writers have put their stories online, selling them for 99 cents a pop as Ebooks. This tactic has potential, especially when there are so many folks willing to risk 99 cents on a virtual book rather than spend eight dollars for a paperback.

Some shop their books to small publishing houses in hopes that having one published book will lead to heightened marketability for the next. But a small publisher often does not pay an advance, much less an advance for future books. I know one writer who was thrilled to have her first book published by a small house, but had to start all over again when the publisher went bankrupt.

One thing for sure, the art of writing has metamorphosed into a completely different creature from what it was 50 years ago. Or perhaps the art itself has not changed so much as has its audience. People whose lives are scheduled in five-minute increments simply don’t have the time, or the patience, to slog through an initial ten pages of description before getting to the meat of a story. For those of us who feel it necessary to bring the reader up to speed on characters and their pre-story lives, this presents a challenge. At what point in the story should we describe our protagonist’s physical, mental, spiritual, and emotional attributes? How much detail should we offer about the setting?

Having spent hundreds of dollars on how-to writing books, I’ve found one golden thread that connects them all: if I want my fiction to be published, I must adopt a marketable style of writing and I must know my audience.

But isn’t writing merely to sell prostituting the craft? That depends upon one’s perspective, as well as one’s goals. Every writer comes to a fork in the path and must make a choice: she can stubbornly stick to her style and be satisfied with the superlatives offered by friends and family; or she can sharpen her technique so that complete strangers will not only want to read her stories, but will pay to do so.

As for me, my storyteller’s head may be bloodied, but remains unbowed. To give energy to the thought of hanging up my writer’s crop and jodhpurs is anathema to me. Because the escapism of fiction brought me through a difficult stretch in my life, I will continue to find time to close out the rest of the world and catapult my senses into other times, other places, and other dimensions. I will continue tweaking, refining, and querying. I will continue to pay my subscriptions to various writers’ magazines, I will enter writing contests, and I will continue to connect with other writers at meetings and conferences. But most importantly, to paraphrase Winston Churchill: I will never, never, never give up.

AnArmAndALeg72Olive Balla, author of suspense novel An Arm and a Leg, is mother of 3, grandmother to 13, great-grandmother of 4, a retired educator, and part-time professional musician. Having been everything from secretary at a used car dealership, a university student, and a high school Spanish teacher, Balla states her characters are, in part, amalgamations of people she’s met. Living with her husband Victor in the Albuquerque area, she spends her spare time in a small woodworking shop designing and building everything from breadboxes and wine racks, to a porch bench. Visit her website at omballa.com.

This article was originally published in the June 2011 issue of SouthWest Sage and is reprinted here by permission of the author.



Sign Up for Elerts  Stay Connected

Help Support SWW Donate. Volunteer. Paypal Giving.

SWW YouTube Videos

Search Posts

WhoFish

More information about SWW Programs can be found on WhoFish.