#Row80 Sunday Check In and Sharing

Happy Sunday, everyone! Remember Calvin and Hobbes? They are my all-time favorite comic, and I so wish Watterson had continued.

Anyway, I chose this pic for today's check-in because I have lots of reasons for the happy dance.

First off, Sammy's doing well. He's got a lot of meds to take and is going very slow on food, but overall I'm happy. We are very lucky we didn't lose him. He has a big, nasty scar, and he's just going to take some time to heal. He's been showing signs of his old self, barking at the door and hovering around when I'm cooking, if only for a few minutes. He's still pretty tender, so he has to be carried up and down the steps to go potty. Trust me, it's not bothering him. He's loving all the attention.

My awesome critique partner Catie Rhodes returned the last of Light and Dark chapters, which means I'm going to end up finishing the first round of edits well ahead of schedule. And Catie really likes the book, so I'm feeling pretty giddy at the moment.

I'm getting close to querying. Thinking about that makes me nauseous, but that's another blog post.

Even better, I've gotten some serious work done on The Prophet. I spent a lot of time Friday and Saturday researching locations and brainstorming my characters. I have to give an enormous shout-out to Jessica Patch for answering all the questions I had about Bible verses, passages, etc. She's saved me a ton of time.

Thanks to Kristen Lamb, I know that the antagonist is the driving force behind any book, so I've been focusing on his character. His motivations are chilling, and he's driven by some radical religious beliefs. The more I work on The Prophet, the more excited I am.

I've also been keeping up on my blog posts, and I've even been able to get ahead on a few of them, so #Row80 is back on track for me.

Favorite writing post of the week: If you normally blog about writing, how will you promote your fiction? A great discussion at Nail Your Novel.

Looking for some great new blogs to read? Check out The Red Dress Club's weekend linkup.

How's your #Row80 going this week?

Finally, it's time for a little Sunday Sharing. What were your favorite blog posts this week? You can share your own or someone else's. Did you read an awesome book or short story? I want to hear all about it!

Don't Stop Believing

My novel has been the ugly stepchild at times, fighting me on every plot point and character traits. At others it’s been loving and sweet, pouring out of my fingers with ease.

The beginning has gone through countless rewrites as I honed the plot and learned not to write entirely by the seat of my pants.

My MC started as a stubborn recluse with a pathetic demeanor, and evolved into a strong female with brains and excess bravado. She changed from a character I struggled to write to one who dominated my thoughts. She was supposed to be a co-protagonist, but her strength and determination claimed the majority of page time.

My second protagonist, the smoking-hot hostage negotiator with no flaws, became darker and a little damaged. He stopped being a pansy and started acting like a worthy male lead.

And my antagonist…my demented psychopath I’ve always adored. He evolved from a strange man obsessed with a girl to a calculating man driven by past grief. He now has a reason for his actions and a carefully planned end game. He’s become three-dimensional, stepping off the page and getting into readers heads. His story will gain readers empathy even as they root for the protagonist to kick his butt.

I’m calling this psychological thriller Light and Dark, but I’ve no idea if the name will stick. Maybe something brilliant will come to me in the edits.

And there are a lot of them ahead. I know I’ll go through several rounds before I’m ready to considering querying or self-publishing.

The journey is by no means complete. But I’m extremely proud of my accomplishment. There have been days I wondered what the hell I was doing, why I was wasting my time—you all know the feeling. I thought about quitting. Or starting something new.

But my characters kept talking, and I became determined to tell their story. My reward is this euphoric feeling…and a strawberry margarita. Or two. Maybe three.

The point is, if you’ve hit a wall with your writing, don’t give up. You set out to write your book because you loved the idea and believed in it. Don’t stop! Forget about the end goal of publishing for a while and just get wrapped up in the writing. Embrace it. Don’t agonize over the details or the hiccups, get the meat of the story down. Whatever you do, keep writing. And be proud of every accomplishment. It’s more than a lot of people who dream of being writers can ever say. Pat yourself on the back, have a drink. And then write some more!

Thank you to all my Twitter and blog friends for their encouragement and advice! Social media really is a wonderful writing tool.

And now, in celebration of finishing my draft, one of the greatest songs of all-time!

Your Book in One Sentence.

We’ve all heard it before. Writing manuals, experts, and most importantly, agents and editors, insist if you can’t describe your novel in once sentence, you don’t have a good grip on it. Between the keyboard and your creative mind, something’s muddled.

A small part of me believes this is a bit extreme, but I understand the premise. When querying, we’ve got about a nanosecond (maybe two) to grab an agent’s attention. The one-sentence rule is not only a way for them to judge your concept but also your writing ability. Effectively jamming a 100K(ish) book into one sentence takes skill.

It dawned on me that while we all support each other’s writing, most of us don’t know much about what we’re all working on. We talk about word count and plot issues on Twitter, but always in generic terms. So I thought it would be fun to put our skills to the test and share our novels – in one sentence.

Of course as I write this, I’m already wondering if I’m supposed to include the title and genre in that one sentence. A lot to learn before querying time, obviously.

Here’s my first attempt:
Psychological thriller Light and Dark follows Emilie Davis, the victim of an attempted kidnapping, as she fights the demons of her past while searching for her stalker, a man known only as ‘The Taker.’

This sentence shows the gist of the story but leaves a lot of the meat out. There’s no mention of my co-protag or the Taker’s outstanding escape. The sub-plot of Emilie’s past issues and her big secret are barely touched. This one sentence thing is even harder than it looks. I know my book. I know it’s a plot that works. Maybe I’m over thinking as usual. What is Light and Dark really about? That’s a working title, by the way.

Second attempt:

After a strange and frightening stalker bungles a kidnapping attempt and makes one of the most daring escapes in modern Las Vegas history, Emilie Davis must face the darkness of her past to outwit the man known only as ‘The Taker.’

I like this better. I still wonder if the title and genre should be in the sentence, but this tells more about the book than my first attempt. There’s still no mention of the second protag, but Emilie is the driving force of the book. It’s her experiences that shape the second protag’s thoughts and actions.

I could have included more about where the Taker escaped two and talked about the underground world he visits, but that’s a subplot. It’s a definite point of interest and makes for a great twist, but it’s not really what the book is about.

What do you guys think? I would love feedback and constructive criticism, and I definitely want to read your one-sentence novels. Let’s help each other!

Happy Monday!

5 Reasons To Cut That Scene

As writers, it’s very easy to get carried away with a scene, especially if it’s one we’ve put a lot of research into. Every detail seems important, right down to the type of plants in the garden and the color of paint on the walls.

Often these scenes are the once we’re most proud of, because we’ve managed to import all that painstaking research into a beautiful narrative.

But is all that information really necessary to the plot?

If you have to ask yourself that question, it’s probably not. I’ve got a scene like this right now that I’ve put on the backburner because I love it so much, and thinking about chopping it up is akin to cutting off my own arm.

It’s the antagonist’s POV, when the reader finds out what the traumatic event was in his life that made him the monster he is today. It’s a sad story will (hopefully) earn him empathy and make him a three dimensional villain.

But it’s also nine pages long (the rest of his scenes only have four pages at most) and over 3200 words. I’m proud of the chapter because it describes his childhood in an area of the country I’ve always been fascinated with, the Old South. It’s the perfect setting: a long abandoned plantation with a haunting description of the overgrown grounds and their history.

Most of which isn’t really necessary to the plot. Some, yes. Some ties into the visual effects and symbolism in the story. But much of it is simply me having fun with my imagination. It’s also one of my favorite scenes, and it kills me I’ll have to chop it up.

But it must be done, because if it doesn’t further the plot or characterization, it’s not necessary.

Here are the five criteria I use when trying to decide whether or not to cut all or part of a scene:

1) Is anyone beside me going to care?

I understand my story and so every word is essential to me. But if readers are going to be asking ‘what the hell does this have to do with anything,’ it’s got to go.

2)The truth is in the details

Is this scene full of mundane details? I tend to fall into the trap of wanting to explain everything, from the character’s movements, inner thoughts, and setting details. If that’s all a scene is, I’ll go back and cut it or merge with another.

3)Is there exposition in this scene? Does the character (protag or antag) end up somewhere different than they started?

If your character starts out the scene lost and angry and spends a lot of time contemplating her life, but is still lost, angry and unresolved at the end of the scene, something’s got to change. He/she has to move forward, or the reader is going to get bored and most likely sick of her whining without doing anything.

4)Did I say this already?

One of my early pitfalls as a writer was repeating myself with each character. If something happened in A’s pov, it must be discussed in B’s as well. That’s fine, if you’re revealing NEW details and moving the plot forward. But if you’re just rehashing old stuff, you’re bogging down the reader and offending them. Repeating information is like saying you don’t trust them to figure it out the first time.

5)How does it sound?

Read the scene aloud. Actually, start one scene before and read through both. Does it sound right? Is the flow from scene to scene correct? Or does your scene in question stick out like an off note in a symphony? If so, it needs work at the very least.

What are some of your own rules for deciding whether to cut?

Strong Female Protags: Beyond the bitchy exterior

Creating a great female protagonist is one of the most challenging aspects of writing. In fact, I think coming up with a strong female lead is tougher than writing a male protagonist. Various studies still show that women read more than men, and let’s face it: most of us are going to be tougher on female leads because we’re seeing ourselves through their eyes. She can be attractive, but not physically perfect. No woman is, and having a beautiful damsel in distress shoved down our throats is a turn-off. Your female lead doesn’t have to be likable, but she’s got to have qualities that make readers empathize with her. Often the best female protagonists are three-quarters bitch, and it’s that last twenty-five percent that make readers root for her.

So what’s in that twenty-five percent? Inner demons, of course. Abusive parent or husband, a drinking problem, drug problem, depression, loss of a loved one – the list goes on. It’s the inner demons that make us feel for the character, and how she conquers them that get us rooting for her.

That’s where the character arc comes in, and it’s all about timing. You can’t wait too long to show at least two-dimensions of your female lead or you’ll lose readers. If she’s perceived as weak, unwilling to change, or just flat-out nasty with no redeeming qualities, readers will toss you aside and move on to the next book. Showing who your characters are is like peeling away the layers of an onion, but you’ve got to give the reader glimpses of who the lead really is or we will never get to see the third dimension, where she conquers all and completes her character arc.

Literature is loaded with great, complex female characters. Here are two of my favorites:

Scarlett O’Hara, Gone With The Wind
Yes, this one is beautiful and knows it. We give her an exemption because beauty is a true part of who she is, and we see right away it’s only one aspect of her personality. Scarlett grows up a spoiled Southern belle and knows how to manipulate the opposite sex for her own needs. But underneath all of that is also a fierce determination to survive no matter the costs. Scarlett’s first major turning point is when Sherman is burning Atlanta, and Melanie has gone into labor. She could have run, but chooses to stay and do the right thing. She tells herself she’s doing this for her beloved Ashley, but we also see her grudging affection for ‘Melly.’

While Scarlett’s driving force is always herself, a close second is her love for Tara. One of my favorite scenes in the movie is after she’s discovered the destruction of Twelve Oaks and is frantically trying to see if Tara still stands. Finally, the clouds part, and she sees Tara. A truly poignant moment and an honest glimpse into Scarlett’s heart.
Throughout the book, she endures heartache and setbacks, and it’s only at the very end, upon Melanie’s deathbed, that Scarlett realizes she’s loved Rhett all along. It’s too late, and we feel her pain because Mitchell created such a complex, fascinating character. Readers fell in love with Scarlett despite her selfishness, and that’s one of the many aspects that make Gone With The Wind such an amazing literary work.

Clarice Starling, The Silence of The Lambs
I’ve always loved Clarice, partly because I’ve had a lifelong fascination with the FBI and serial killers. As I read the book, I felt such envy for Clarice because she was getting to do something I’d always wanted to do and didn’t have the guts to pursue. That very quality could have made me shun her, but how could I not root for a woman trying to break through the ranks of the male-dominated FBI?

Clarice isn’t defined by her beauty but rather her intelligence and raw determination. During her interviews with Dr. Lector, we admire her poise despite her fear. And it’s through Clarice that we come to understand and even empathize with arguably one of the best antagonists in all of literature.

We learn about Clarice’s inner demons very early on – the death of her father when she was a child. She immediately earns our sympathy, and we’re even more drawn to her. But it’s the truth that Hannibal himself gleans from her, the horrible slaughtering of the lambs, that locks Clarice into our hearts. We see her worst fear, and we know she’s only allowing herself to be emotionally stripped because she’s determined to save Catherine.

By the time Clarice discovers Buffalo Bill’s home readers hearts are pounding because of our attachment to the character. She’s overcome so much, and now she must use all the knowledge given to her by Lector to save herself and Catherine. Her character arc is completed, and she has Dr. Lector to thank for it. The true genius of Silence of the Lambs is the relationship between Starling and Lector. Without each other, neither would have found peace.

Other Great Female Leads:

Susie Salmon, The Lovely Bones
Elizabeth Bennett, Pride and Prejudice
Jane Eyre, Jane Eyre
Eowyn, Lord of the Rings
Jodie Piccoult, My Sister’s Keeper and Perfect Match

What are some of your favorite female protagonists?

April 13 - Writing A Killer Antagonist

While I love all three of my main characters, I have a soft spot for my creeper. He's polite, charming, and well-spoken. He doesn't want to hurt anyone - he just wants his life to be as it once was.

In order to write a great antagonist, we as writers have to create empathy for that character. Sure, your readers want the brave protagonist to win, but they also understand the bad guy's motivation. His thoughts and actions not only give them goosebumps but tug at their heartstrings. On some level, they understand him, which is both fascinating and unsettling to a reader - and it will keep them engrossed in the novel.

Naturally, I didn't think about this when I first began writing my book.

In the beginning, I just wanted my bad guy to freak people out. I wanted readers to be glad he wasn't after them. But thankfully my amazing critique parter and editor pointed out that an antagonist has to be as three dimensional as a protagonist. "And remember," she said, "the very best bad guys aren't all bad - think Hannibal Lector."

And back to the drawing board I went. I asked myself these fundamential questions: where does my creeper come from? What events shaped his life? Did something tragic happen to him? What are his redeeming qualities? Once I began to approach the antagonist's character this way, I had a whole new understanding of him.

My plot benefited as well. A well-rounded antagonist helped me to come up with some great symbolism, and I realized that the showdown between bad and good that I'd originally planned needed to be fixed. Creeper was far too sophisticated to be so brash.

Now, I'm excited about the ending. Matching my antagonist and protagonist against each other will be great fun to write, because I know them equally well.

Although I enjoy the brash slashers and uncomplicated criminals, the best antagonists are the multi-layered ones. A bad guy whose head I can delve into is far more gripping.

What are some of your techniques for writing the bad guys, and who are some of your favorite antagonists?