Let’s Face It...

I recently watched one of many ancient astronaut shows on the History Channel. It was one of those lazy Saturdays that had me drifting into my day slowly, leaving the TV on longer than I should after checking the morning news. I heard speaker after speaker asserting that the only way we could have built an assortment of complex stone structures in ancient days was if some external possibly alien force intervened to help us cut stone so exactly and carry massive weights such great distances.

There were a few counter arguments to keep the network from looking like they’d completely discarded any credibility to suck up to a popular pop culture market. They offered opinions by contrary scientists and experts almost apologetically, as if afraid that pointing out the obvious might get them a barrage of angry letters or protests. I’ve heard it all before. I grew up with it, and remember my grandmother’s collection of UFO books, still in my library, and the Von Danikan books, on and on, but never quite bought into it.

I feel compelled to finally reveal my own theory.

We’re stupid and we get stupider with every generation.

Our parents were right -- we are dumber than them, and they’re dumber than their parents, on and on, until we reach a golden age of humanity, Alexander conquering the world by 30, back to babies capable of levitating stones with their minds to build the pyramids for fun, like building blocks. I see a past world of wonders built by the architects of democratic systems that later generations couldn’t sustain, of graceful economic systems that dumbasses like us screw up until they crash.

We can’t figure out how they did it because we’ve lost it. Whatever it was we started with -- the ability to fly, to see in the dark so we didn’t need lights, telepathy, a world of plenty where enough food was here for everyone, human populations balanced with an area’s ability to sustain them, where cancer didn’t exist because of exposure to new materials we never needed before.

As we get dumber we need GPS, computers, calculators to fill in the gap, TV and the Internet to tell us what to do, how and where, everything automated into single finger Apps so we don’t have to use our dwindling intelligence for anything but basic survival. Earning enough money to buy the next machine that will save us.

iLife indeed.

Don't get me wrong. I am no exception, working hard to sustain the machines that keep me organized. E-Mail and my digital calendar make me enormously productive despite what may be familial ADHD. As things occur to me I can send an e-mail or schedule an activity in my calendar and go back to writing -- instead of stopping and going out to buy a light bulb because it’ll be dark in an hour and the lamp burned out yesterday, and do I have clean clothes, maybe I should do laundry, and where did I put that soap, do I need soap? Did I eat? Am I hungry?

Instead I schedule shopping, finish writing pages, go to the store with a list so I don’t make four trips, print out maps of where I am going to keep me focused so I don’t get lost and wander down side streets that looks interesting on the way.

Am I alone? I think not. I fear we’re getting dumber than we've ever been and in twenty generations we'll be drooling Eloi, fed on by H.G. Wells’ Morlocks, the technology that got us there forgotten, turned into religion. Why bring it up? Maybe if we realize it now, maybe we can do something about it. Improve our schools. Start listening to the last generation instead of repeating their mistakes in ignorance. Read about the last Great Depression and how we recovered from it instead of acting like Wall Street needs no regulation or controls, that it’ll find its own path to giving us all prosperity if we just leave it alone...but it looks like we won’t. Because we’re dumb. But…we can wise up again, with work.

At least I hope so.

Avoiding point of view mistakes

When an author maintains a consistent point of view (POV), readers follow the story more easily. But it's easy for authors to slip out of POV; you'll find POV mistakes even in books by experienced writers.

A general guideline, one that I follow, is that each scene should have only one POV. That is, each scene should show the thoughts, emotions, and sensations of one character only, and those thoughts, emotions, and sensations should be reasonable for that character.

Following are some common types of POV mistakes, followed by an explanation of each. Christine is the POV character in each sentence.

1. Before climbing into the convertible, Christine put her luxurious, silky black hair into a ponytail.

Christine already knows what her hair looks like, so there's no reason for her to think about its color or beauty at this moment. The author needs to find a more natural way to reveal Christine's hair color.

2. Christine heard a click on the other end of the phone. How dare her father hang up on her! Her face reddened.

Christine can't view herself unless she's looking in a mirror. She may feel her face getting hot, but she can't see it. The fix here is easy; the author should reveal what Christine feels like rather than what she looks like.

3. Christine slipped on the black patent leather stilettos and teetered over to the shoe store's mirror. She looked fantastic, and the shoes were a great bargain. She pulled at the beads in her her bracelet. Was looking fantastic worth the risk of falling and breaking her ankle? John looked at his watch and wondered how much longer she would take to decide.

Christine can't know John's thoughts, only her own. The author can reveal John's impatience without shifting into his POV. He can look at his watch, frown, shift around on the shoe store bench, or speak brusquely, for example.


4. Later, Christine would be glad she had missed the bus. But now, as she watched the #22 South Broad rumble away, she thought only of how long she would have to stand in the rain before the next one arrived.

Christine can know only her present and past. The comment about her future is the author's thought, not Christine's. I would find this example less objectionable if it occurred in a story in first person. First person POV gives the feel of someone telling the reader about events that have already happened. The narrator can more easily jump forward in the narrative without leaving the past. Still, I think "if only she (or I) had known that..." sentences are better avoided. They don't advance the plot, and they pull the reader out of the story.

5. Christine turned the pages of the photo album. In every picture, her two-year-old self gazed somberly at the camera, while her soon-to-be-dead mother smiled broadly, giving no hint that just a few minutes earlier, when they had been alone in the nursery, she had soaked Christine's dress with her tears.

Christine was too young to remember this event. Either other people need to have been in the nursery and told Christine about it later, or the author must leave Christine to wonder about the spots on her dress and her mother's glistening eyes.

Have I missed any of your pet peeve POV problems? Feel free to provide an example in the comments.


The Novel Spaces blog now has permanent spots for its writers. Starting with this post, my posts will routinely appear on the 5th and 21st of each month. Thanks for visiting, and please come back on 21 July.

—Shauna Roberts

Turning Point!

Every now and then I pick up Robert McKee’s book, Story, and reread a random chapter just to remind myself of the craft principles that I so desire to continue to romance. The premise of one particular chapter on scenes reminded me of one of my all-time favorite movies from 1977, Turning Point, with Shirley MacClaine (my favorite actress) and Anne Bancroft, a story of missed chances, and wanting what the other had. I remember crying at the end, telling my husband, “I didn’t want it to end!”

That’s how we as authors would like our readers to feel as they near the final few pages of our novels. And experiencing turning points is one of the reasons why a reader, or moviegoer, would say that.

A novel that brings the reader something they didn’t anticipate, from positive to negative or negative to positive, that puts them at risk or causes a reversal, can keep ones attention in a way that a flat exposition cannot do. Every scene or chapter should be a turning point in some way, be it minor, moderate or major. It’s that jolt of surprise that makes us say, “Oh no he didn’t,” that keeps us turning the pages, even when it’s after three in the morning and we need to be at work by eight. Turning point: the point of continuing to turn the pages.

As storytellers we lead the reader into expectation, if they would only lend us their concentration. We lead them deeper and deeper into the natures of our imaginary “book-people,” taking the characters, and the readers, in different directions, be it subtle or hard-hitting.

Last year a New York Times author reminded me to not only surprise the reader, but also, to allow my characters to surprise me. This is one of the best pieces of advice I’ve ever received from another author.

We think we know our characters so well, that we’ll fight tooth and nail, saying, “Oh, she would never do that!” Well, in our own lives, do we really truly know if one of our siblings or best friends could ever be an undercover spy, rob a bank, be a bigamist, or a murderer, etc., - because the reality is . . . they just might. I won’t say let your characters surprise you, as much as allow yourself to be surprised. Don’t fight it. Stop being so controlling. If it’s true that it’s possible to slip something in on the reader that they didn’t anticipate, then why would it not be possible to slip something in on the writer himself/herself? Really listen when they talk to us (that thing they do that makes people we live with say we're crazy). Turning point: a point that turns, and surprises even us crazy writers.

What’s the best piece of advice an author has given you along the way? Or, what’s the last movie you watched that you just didn’t want to end?

Happy Scene Writing, and Happy 4th of July!

Publishing choices

In his June 1st column, "Dilbert" creator Scott Adams predicts that in the not too distant future there will be no publishers. He bases this vision of the future on the fact pirates already make most valuable web content free, including novels and stories reproduced without permission from – or remuneration to – the writer. The "books should be free" philosophy treats the product of years of a writer's craft and effort and discipline – years of a writer's life – as though it was a found object. Something the writer stumbled upon and is refusing to give away freely solely because she and her publisher are selfishly denying others the "right" to take what they want without asking. This mindset is common among folks who regard creating a novel as a function of having enough free time to type. (Show of hands: How many writers out there have had someone, anyone, at a convention or library or bookstore or family get-together say "I always wanted to be a writer; I just never have the time." I realize these folks are trying to establish they are kindred spirits, but the assumption underlying their statement is the only reason they haven't written a novel is their life is filled with more important things than mine. I do not punch these people.) Scott Adams' contention is the internet and assumption all content should be free will make professional publishing obsolete. In a generation, maybe two, professional writers will have gone the way of lamplighters and town criers – careers alluded to only in history texts. He envisions a future in which people write web content for free and occasionally readers who like what they've written will make donations.

Foreshadowing Mr. Adams' vision of a future without publishers and professional writers is the vibrant and expanding – more like exploding – legion of vanity presses.

I am not a complete Luddite, some million of the words I've sold to date have been internet content, but when it comes to writing, I remain firmly old school. In fact, I'll take that one step further: When it comes to writing, I'm an alligator. (No, I don't mean I lurk in murky water to ambush unwary waders; I mean alligators both predate dinosaurs and are still around.)
And two fundamental and non-negotiable old-school truths of writing are:
1. Writers write. Writers are writers because they cannot not write.
2. In professional publishing, money flows to the writer. Period. If you're paying an agent to read your ms, or a copyeditor to edit, or a typesetter to layout, or a binder to bind, or a truck driver to carry your books to stores, you are not being professional. You are being victimized by the vanity press, a shadow industry that preys on writers' dreams.

A few weeks ago, in her thought-provoking article on modern alternatives in marketing and publishing, Guest Blogger Pam Perry discussed William P. Young, a writer who had exceptional monetary success by going the vanity press route. It should be noted Young wrote a terrific book, one that has deservedly been a best seller – I have and will continue to recommend The Shack to anyone. But I would no more advise a novice writer to base her goals and career on Young's example than I would advise any of the at-risk young people I work with daily to base their educational choices on LaBron James. Yes, many people have made money with the vanities. There are some who have made a lot of money -- and there is no question that many talented writers choose to go the vanity route. But for every writer who succeeds (and here I'm defining "succeed" as breaking even) there are hundreds, if not thousands, with garages or storage rooms full of unsold and unsellable books.

I've read many a vanity book and been at a loss as to why the writer didn't sell it to a professional press. Based on totally subjective research consisting of me asking writers – both in person and online — who've taken this route, I estimate 99 out of 100 writers who go the vanity route do so because they believe they could not get their book published any other way. Some writers gave up on professional houses after one or two or a dozen rejections. Some never even tried, convinced "the system" was stacked against them.

There's no doubt it is hard to become published. And this would be the place where one would expect a pep-talk citing the seemingly insurmountable odds great writers have overcome to get their words into print. Not going that route today.

I have heard many who chose to go the vanity route bemoan the fact that their books are not treated with the same respect as "traditional" books produced by a professional publishing house. Given the high quality of the writing in some of the vanity books I've read – and the low quality of writing I've seen in way too many professionally published books I've read – they would seem to have a point. Actually, they would have a point if the discussion were of a specific book, such as Young's The Shack. But the sad fact is that many writers who go it alone do not benefit from the support, feedback, input and tough love of a savvy agent and strong editor – and it shows in the finished product. When it comes to self-published books as a whole, the ratio of dross to diamonds is daunting. Many reviewers and distributors and book buyers don't think it's worth the effort.

There is a prejudice against the vanity press among professional writers and publishers. This prejudice – which in my case is more like hostility – is directed toward those who take advantage of writers. In an ideal world, this prejudice would not extend to the writers themselves. It should not. But sadly there is a prestige factor separating perceptions of the vanity-published from the professionally published. Let me use a bit of substitution to illustrate: Are you more impressed with someone who won a humanitarian award or someone who paid a trophy maker $600 for a replica of a humanitarian award? This mindset, while not universally accurate, informs a lot of thinking about the relationship between professional publishing and self publishing.

And it may inform how publishers, and readers, perceive you as a writer.
Something to consider as you pursue your writing career.

What Do You Give Up To Write?

In a scene from my upcoming release, Operation Prince Charming, the reluctant hero is dragged to the opera by his (soon-to-be-ex) girlfriend.

The night I wrote it, my seat to Nashville Opera’s performance of Tosca sat empty. Deadline was only days away, and I still had over 130 pages to write.

I ended up making do with a little Kathleen Battle on my iPod. Not as good as the live performance experience, but okay.

Having a contract to fulfill is a wonderful thing in this tight market, and I don’t mind giving up an event for the privilege.

Actually, a night out isn’t the only thing I’ve given up for more time at the keyboard. Below are a few others:



I limit phone time. Sigh. I’m gabby, and most of my friends like to yap, yap, yap too. One conversation leads to another, and the next thing you know you’ve spent the entire evening on the phone (talking about nothing).



Television was another time-eater. Tune in to one show, then get caught up in the one after it and so on… Next thing, you know you’re sleepy and wondering where the time went.

Nowadays I wait until the current season of my favorite show has ended, then order it on Netflix or iTunes. I spend a single day watching the episodes back to back. (Just finished a 1-day marathon of Weeds, Season 5)

What have you given up to eek out more writing time?

How I plot a novel

I have the honor of kicking off this second year of blogging here at Novel Spaces. It's been a fabulous first year, with many fascinating post from this eclectic mix of authors we have here. Today, I've decided to blog about something that is at the very core of every story, whether it's romance, horror, sci-fi, fantasy or mystery.

Plot.

Every story has to have one, even if it is the most character-driven piece of writing in the world. That character has to actually do something, and/or have something done to him. To me, this is the plot.

I am constantly adding to my repertoire of plotting techniques. I've tried using computer-based methods, but I've always been a more hands-on person, and for me a simple poster board and sticky notes works best.

My plotting usually starts with some loose brainstorming of both characters' current lives and backstories. Somewhere in that expedition I usually find some common thread that will tie these characters together. After a bit more brainstorming, it's time to get to the nitty gritty.

The first step is to think about "What Has to Happen" and "Possible Scenes".

It's simple. In a story, certain things will have to happen. In a romance, the characters have to meet and have a first kiss. There also has to be a catalyst that propels the action forward, emotional cues that enhance the romance, and a huge event that makes the reader think that there is no way these two characters will ever end up together on the final page. I pick out specific things from that earlier character sketch that will help fuel the plot, then I try to match it up with possible scenes where those specific plot points can take place.

Here's and example of what about an hour of plotting yields for me:

Since I'm pretty linear in my writing, my next step is to create some type of timeline. For my last book I used the "W" plot, where the peaks and valleys correspond to significant plot points in the story:

1. Inciting Incident

2. Plot Point One

3. Midpoint

4. Plot Point Two

5. Black Moment

I find that when I start with those key points, I can populate the rest using my "Possible Scenes" from above.

This sounds pretty straightforward, but even as I write it I can't help but think about all the other stuff that takes place. I call that "the magic." It's that thing that happens with every story where I surprise even myself with the ideas that pop up. I don't try to understand it, I just pray that it continues to happen.

For anyone who wants to try plotting, I will always recommend Carolyn Greene's Prescription for Plotting system. Even though I've incorporated some of my own methods, along with ideas I've gleaned from dozens of plotting workshops over the years, Carolyn's system remains the foundation of my plotting method.

For the writers out there, please share some of your plotting techniques. As I mentioned before, I am always looking for different methods to try.

The Mad Woman of Warren Avenue

We all lead incredibly busy lives. Kids, spouses, careers, and writing consume our waking hours. How do you find time for your personal passion when your life is filled with so many obligations and responsibilities? My solution - use every available moment that comes your way.

For example, when I first started writing I would plot out my books on the way to work. I would take a route down Warren Avenue, hence the title for this blog entry, "The Mad Woman of Warren Avenue," passed Wayne State University to Karmanos Cancer Institute. The daily commute took approximately 25 minutes. The ride provided a solid period of time to map out my book details, plot out the stories, and design the characters. I've always muttered to myself, so as I drove I'd talk to myself. Actually, I called it talking out loud, like working out a puzzle in my head.

Sometimes I would notice other drivers staring at me with this confused expression on their faces. I'm sure they were wondering who I was talking to or what was wrong with me. I didn't care then and I still don't. The car and drive provided a quiet, non-interrupted period for me to think through the details of my stories. Another thing I started doing was talking through scenes while I prepared dinner or washed dishes. I keep a pad of paper and pen on the kitchen table and jot down ideas as I work in the kitchen. Another trick I learned from my publicist was to leave a scene unfinished when I shut down my computer for the day. It gave me an opportunity to keep the creative juices flowing when I'm not on the computer.

Although I don't have children, I do have a husband that likes to spend quality time with me. When he's home in the evenings, we watch television or movies together. Being with him limits my writing time, so I sometimes get up at 4am, write for an hour or two and then return to my bed for an additional hour of sleep before rising and preparing for my work day.

I find early mornings to be a wonderfully creative time. There's no telephones ringing or people asking me questions. I go to my desk and without turning on a light, I power up my laptop and go to work. I don't do editing or rewrites, early mornings are set aside strictly for creating new scenes. Lunch time provides a perfect opportunity to edit, and after dinner I do my edits, if my husband is at work.

How do you make it all come together? Do you have systems in place that you'd like to share? E-mail me at karenwhiteowens@gmail.com or click on the comment link. I'd love to hear from you.

Remember, don't be a stranger.

Karen