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Digital Books During Isolated Times #AuthorToolBoxBlogHop

Author Toolbox Blog Hop

The Author Toolbox Blog Hop is “a monthly blog hop on the theme of resources/learning for authors: posts related to the craft of writing, editing, querying, marketing, publishing, blogging tips for authors, reviews of author-related products, anything that an author would find helpful.” Want to jump into the writing tool box? Search #AuthorToolboxBlogHop or to join via blog, click here.

"If the book is true, it will find an audience that is meant to read it." By Wally Lamb

Currently, my entire town has been asked to quarantine until April 6. City offices are closed, events with over 10 people are closed, which means the local libraries have extended due dates on books until their doors reopen in April. This date may change.

We’ll make it. I believe we will eventually conquer and thrive again 🙂

Considering all of these surreal events, this month I’m thinking about the importance of eBooks and what it means to author and writers. Do audiences find e-books as easily? Do covers matter as much? Will the publishing industry change again, completely focused on them?  I’m not %100 sure, but I have been cruising around the internet reviewing different articles on the dos and dont’s. So far, I like the list of dont’s because I’ve learned a great deal. I am also happy we have eBooks during these isolated times to escape our walls in our own homes.

A list of favorite eBook tips:

From Owlcation by author Jennifer Wilber on 10 Reasons Why eBooks are Better Than Print, I got a couple of great reasons to consider eBooks over print:

  • They can be read in the dark
  • New releases are usually cheaper
  • Viewers have multiple font options
  • eBooks have no late fees from libraries (my favorite one)
  • My own added tip: eBooks are sanitary as long as your screen is clean and your fingers are too 🙂

From Publish Green on The Important of a Professional eBook Cover, I got:

  • With all the eBooks on the market today, it is important as an author that your eBook cover makes a lasting first impression. 
  • The cover makes your eBook stand out on similar topics with other authors. I know I’ve drawn to the beauty of a cover first. Publish Green also offers eBook cover designs.

My favorite thorough article on both benefits and drawbacks of eBooks came from Investopedia:

  • E-readers may cause eye strain, and some screens are not easy to read in sunlight.
  • I also learned the expenses to consider when making eBooks such as the added technology cost of formatting the eBook for multiple reading platforms as well as the conversion cost of print formats to electronic files.

What about you? What number one tip do you have about what has gone well or what you might change regarding eBooks?

Happy Hop Day.

Good Heroes Need Good Villains #authortoolboxbloghop #amwriting

Author Toolbox Blog Hop

The Author Toolbox Blog Hop is “a monthly blog hop on the theme of resources/learning for authors: posts related to the craft of writing, editing, querying, marketing, publishing, blogging tips for authors, reviews of author-related products, anything that an author would find helpful.” Want to jump into the writing tool box? Search #AuthorToolboxBlogHop or to join via blog, click here.

Thank you Raimey!

***

At a writer’s conference a few years back, I sat with a literary agent and pitched my story. She mentioned my villain struck her attention the most. My villain had a goal equal in weight to my Lead. Then she mentioned lots and lots of writers forget to focus on the goal and the arc of the villain.

So today, I’m using some thoughts from The Marshall Plan Workbook. I’m focusing on the craft of the Opposition, a word Marshall uses in lieu of the Villain, and the importance of strength and equality for both the Lead and the Opposition. I’m also thinking of Khan as an example of interesting Opposition.

Four Basic Points From Marshall’s Plan to Consider

The Opposition As A Person

Marshall states, “Nothing stirs readers like person-against person conflict.” (Page 77)

I pondered all the books and movies I’ve liked the most. Avengers, The Archived, Panic, and The Coldest Girl in Coldtown. Some of my favorites involve magical possibility. All of them involve human faces. Sure, some phenomenal stories have been written with natural disasters and animals leading the opposition, but largely I do agree with Marshall. I think human opposition does “come across most effectively.”

And Khan. Is he human? Or he is he a divine being without weakness?

Wikipedia states Khan is, “a genetically engineered superhuman.” Now I’ve never seen the first appearance of Khan with the early Star Trek movie. But I do like the new version of Khan. I like seeing a human figure as the shell to all his power.

Opposition And Lead Must Be Equal

This point made me think again. True, the reader wants a good fight. True, the writer needs enough action and reaction scenes to develop an effective plot. Marshal states, ”an opposition who’s an equal match for your lead is believable to readers.” If one or the other is so far advanced, why doesn’t the story just end? A fair point. A last fair point, “Think first of your lead’s special skills and talents that will help her achieve the story goal, then bestow your opposition with a large enough share of the same talents that your lead will be given a real run her money—a run that will keep readers turning the page.”

And Khan? I had a hard time justifying if Khan was indeed equal to the Lead, Captain Kirk. Khan seemed to win at manipulation with high stake issues. Kirk seemed to win with his crew and loyalty. He surrounded himself with talented people with different talents than the ones he seemed to have. Khan didn’t seem to need anyone, with a gift of regenerative blood. He seemed super strong. He seemed to evaluate weakness better than most. So it’s still a toss up to me.

Opposition isn’t Always Evil, Just Opposite

Marshall states, “The reason the ideal opposition is someone already known to the lead is that this is usually how life really works.” When I think back on all my own goals, it’s true. And Khan? I guess his existence was known previously to the start of the movie. Spock certainly knew him. His awakening was fast and public.

An Invisible Opposition Exists

Murder mystery genres face invisible Opposition. The lead does not know the opposition. The Lead is terrorized by an invisible opponent. The whole plot strives to uncover the opposition and solve a case.

A last important Marshall Question to consider:

Why would this character oppose my lead?

For more information on the Marshall Plan Workbook, here’s an amazon link to purchase the book. You’ll love the resource. I certainly do.

Any other Opposition thoughts? Any thoughts on Khan and Kirk? I’d love to hear them 🙂

It’s All In The Revisions #AuthorToolboxBlogHop #writetip

Author Toolbox Blog Hop

The Author Toolbox Blog Hop is “a monthly blog hop on the theme of resources/learning for authors: posts related to the craft of writing, editing, querying, marketing, publishing, blogging tips for authors, reviews of author-related products, anything that an author would find helpful.” Want to jump into the writing tool box? Search #AuthorToolboxBlogHop or to join via blog, click here.

Thank you Raimey!

***

This month, I’m reporting top tips to begin a second draft of a work in progress. I’ve learned the best advice is to settle my impatience and let the first draft sit to clear the canvas in my mind. My own first draft was completed back in March.  A reasonable amount of time has passed and I’ve since moved on to other projects.

So now that I’m ready to make revisions, I admit, I didn’t know where to start and I’m sharing tips from a great author, Marissa Meyer. She reflected over her process in draft two of Cressa. Please visit her post as she provides lovely details of her process.

Here goes her tips and a few simple reflections:

  1. Print out your first draft.
    Make notes of plot holes, questions, characters who may have been left out for lengthy chapters and need to be added back to remind the reader they exist. Ask yourself, how can I make life worse? What challenges can I throw into these scenes to add tension or correct realism in dialogue? How can I be mean to my characters I may have delicately danced over in the first draft?
  2. Import Draft One into Scrivener. Meyer used word to write her first draft. To begin her second draft, she imported everything into Scrivener. Have you tried it yet? I love it to pieces. Then use the synopsis note card and write two to three sentences to summarize each chapter.
  3. Plan the revisions from your notes.
    Start with the big holes or changes you would like to see. Review the changes you note are not working and plot new scenes, brainstorm character changes, and ways to fix the holes. For me, I have a character who drops off the planet half way through the book, for good reasons, but not the right emotional reasons. Fixing her location will most definitely create new details and new scenes. Fixing her location and creating new scenes will further enhance one of the major themes in my story and was dropped in the first draft. I don’t want it dropped.
  4. Revisit the plot structure. 
    Add the new scenes and revise old ones. Scrivener has a terrific cork board to drag and drop scenes. I love being able to move things around. I love Scrivener’s character and location templates. I may do some more research on specific locations I’ve picked in the book and add them to my notes.
  5. Focus on the subplots.
    Marissa Meyer mentions the first draft is about the larger plot. She takes more time in the second draft to flush out the details in subplots. For instance, backgrounds and histories and why characters do what they do. The subplots lead to deeper themes and plots readers crave. Once I rewrite the location of one of my characters, I’ll have satisfied some deeper emotional subplots of sisters and strengths and weaknesses in families and how together we create balance and solve problems we can’t always do alone.

So this is my plan. I’m starting this week. Wish me luck in the next few months and if you have any other tips on second draft revisions and organization, I’d love to hear it.

Should We Write the Whole Truth? #AuthorToolboxBlogHop

Author Toolbox Blog Hop

The Author Toolbox Blog Hop is “a monthly blog hop on the theme of resources/learning for authors: posts related to the craft of writing, editing, querying, marketing, publishing, blogging tips for authors, reviews of author-related products, anything that an author would find helpful.” Want to jump into the writing tool box? Search #AuthorToolboxBlogHop or to join via blog, click here.

Thank you Raimey!

***

When I wrote my first draft of my first novel, I went scene by scene, chapter by chapter. I wrote in a logical timeline, from Monday, Tuesday, not knowing how to get to Friday where I really wanted the conflict to begin. I had no idea there was this really cool technique called Narrative Summary, and used effectively and efficiently, may work better then walking a reader through the whole truth.

Ever told an event from your day word for word and managed to hold attention from start to finish? I’m not sure if this is possible. I admit, I’ve done it. I’ve also watched eyes wander away.

In writing, Narrative Summary is a great way to hold on to a reader’s attention with a great fast-forward bridge where the reader may not notice a skip over a course of hours, maybe days, and may also remain engrossed on the page without scanning.

So what is it, you might ask?

According to Quora, I found the perfect definition:

Narrative summary is possibly the most flexible of the various ways of presenting a story. Narrative summary doesn’t necessarily tie the author down to chronological order, the way dialog and dramatization do, nor does it require a focus on one particular aspect of the story, as description often does.

90 Day to Your Novel by Sarah Domet also states, “the narrator summarizes some events of the story for the reader, without showing the scene directly.”

Author Domet goes on to say, “you don’t have to show, in scene, how your character got from the end of chapter one to the beginning of chapter two by first getting a car, driving to the ferry, riding a ferry … then walking the rest of the way. But you will have to make clear to the reader that these changes took place.”

One of my favorite young adult books I’ve read this year and talked about multiple times is Panic, by Lauren Oliver. In one beautiful sentence Oliver transitions the reader from one Saturday to the next:

“Time tumbled, cascaded on, as though life had been set to fast-forward.”

Then she begins the next paragraph so perfectly, “Finally Saturday came, and she couldn’t avoid it anymore.”

I am so drawn in. I can see her panic, her nervous tension. And I want to read on and find out how she faces her worst fear in the next blind challenge against her peers.

One more example, you may ask?

A perfect one ends a chapter with a huge confrontational moment where our second POV main character Dodge is crushing on a girl and gives her a gift for her birthday. One he can’t afford. One he can’t stop thinking will finally show her he really cares. She’ll melt. She has to. Instead, she gives it right back and he’s so dejected he says the worst thing and they’re both sniffing back shadowed tears:

“Her eyes locked on his for a minute. He saw two dark holes, like wounds; then she whirled around and was gone.”

Thus, the chapter ends.

The next chapter begins with him home in his apartment, dreading his decision to head straight home the second he hears his mom call from the living room. To meet her new boy of the week. The father of a former classmate who had recently died. In the very game our two main characters are competing in. The entire scene is painted so we see Dodge’s awkward tension.

Oliver could have started the new chapter with the door in Dodge’s face, a slow walk down the hall, him shuffling down the steps to the street below, but she didn’t. We don’t need to watch a dejected walk of shame or the passing details of the city. Realistically, Dodge wouldn’t be paying attention to the city. Instead, Oliver shows us in the opening page of the new chapter with body language, dialogue, all the while, ramping up new conflict to peek our interest.

What can you do to try Narrative Summary?

Take out a scene you’ve stewed over. Maybe it doesn’t feel right. Maybe you’ve had comments from your beta readers, peers or editor how the action or conflict has dropped. Reread it. Seek places to summarize point A to B in a sentence. Notice the differences. Maybe try a new scene and write it out both ways. You might really like what you discover.