Update on “Playground for the Gods” Series

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While Book 1: The Great Primordial Battle is spending time with my alpha reader, I’ve been busy working on Book 2: In the Beginning. Now I know it seems strange name for a second book, but for this series, it’s actually quite fitting.

You see, Book 1 covers the time just before and after the Atlans arrival on Earth in prehistoric times, which result in a great battle between the Atlans and the monstrous creatures created by the angry Tiamat, Oldest of Old Ones. It is the story of how the Atlans came to be on Earth.

Book 2, on the other hand, takes place during Earth’s earliest civilizations. It explores Biblical times and even before, as well as visiting ancient Egypt and Minoan cultures. It looks at the beginning of time, hence the title, In the Beginning.

That said, I’ve finished the first draft for Book 2,  and started on revisions. I guess maybe my writing process is a little weird. At Western, while earning my M.F.A. in Creative Writing, we talked a lot  about our writing processes, and while everyone’s processes were different, I never found anyone whose process was like mine.

My first drafts are pretty rough, consisting mostly of the basic plotline. The basics of what happens in each chapter, so the way the story moves forward can be seen. Once, I have that down, I can go back and revise, adding description and action that helps the story move in each chapter, sharpening the image, hopefully, for readers. That’s where I am in the revision process now.

Before I send it off to my alpha readers, I’ll do another run through to check for repetition, spelling, grammar and punctuation errors, and eliminate unnecessary words. This is the pass that tightens up my writing to make it the best it can be before going to the alpha readers have a go at it.

Once I have it back with their comments, I may do up to three or four more passes, before I feel it’s ready to submit to publishers or agents. If all goes well, I will get Book 1 back from my alpha reader, which in this case may be a beta reader since I made revisions to the completed work after sending it out without raising any interest, about the time I have the final draft of Book 2 ready to send out for her scrutiny.

I think the main problem, possibly with both books right now, is a lack of emotion from my characters, which could result in a lack of emotional investment from readers. Identifying it as such is good, because if readers don’t care about the characters, they won’t continue reading. The challenge will be finding a way to fix it, so my readers will keep turning the pages. Fortunately, I found some great ideas for showing my characters’ emotions in a post titled Emotion vs. Feeling by David Cobett on Writer Unboxed.

The story is there. Now I just need to breathe life into it. That’s what writers do.

 

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“Crossroads” Moves Across Worlds

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Crossroads by Chandler McGrew is an alternate world YA story about a young girl, Kira, who finds herself on the run with her friend, Jen, after her parents and her carnival family are massacred. Unsure of where to go, but following her instincts, Kira explores her other-worldly powers which allow her to create, and uncreate, by will, learning about her family’s true origins and discovering that only she can save the last of her people.

It’s a role she didn’t ask for, and she doesn’t want as she realizes that she and Jen are being pursued and everyone she comes into contact with dies. Then she meets Sheila, who has the gift of talking to the dead, and is tied to Kira and the world beyond the mirror, although neither knows it. They go through the mirror and embark on a quest to stand against the evil empty-eyed man, who has overtaken Dream Time, (the world beyond the mirror, and is trying to overtake all worlds.

Crossroads is character-driven with a strong story line, but it is almost a little too convenient that although she does not understand what she is supposed to do, Kira always knows what to do when the time comes to do it. The answers just seem to come to her. I give it four quills.

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Welcome Jeff Bowles to “Writing to be Read”

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Last week we had our first guest post from the newest addition to the Writing to be Read team, author Jeff Bowles, who will be sharing his Pep Talk to keep writers inspired and motivated, the first Wednesday of every month. I’m excited to have him join my team, and I think you readers will be too, after you learn a little about him.
I had the good fortune to attend the same graduate program with Jeff, and I have to tell you, he is an extremely talented young man. His stories different and often don’t fit neatly into a particular genre, although I think most that I’ve read can be called speculative fiction.
For his thesis, Jeff came up with an epic idea for an Armageddon story, where a gigantic God and Satan have a  physical battle and destroy most of Earth in the process. His thesis proposal was probably an inch thick, and the story outline was very complex. All of his cohorts said, “It will be really hard to pull off, but if anyone can do it, you can, Jeff.” I heard this time and time again. Hey did pull it off, and he ended up with an awesome novel.
Since then I’ve gotten to know Jeff and I learned that he’s a madman when it comes to writing, and you never know what he’ll come up with next. But, whatever he writes, you can be assured that he will put you in the story, and even if his characters are lightning bolts, he will suspend your disbelief and make you care what happens to them.
In addition to his M.F.A. in Creative Writing, Jeff has publishing credits for many short stories, including a collection of short stories, Godling and Other Paint Stories, which he published himself. His second short story collection, Fear and Loathing in Las Cruces, will be released on March 28, keep an eye out here for a review). In addition to his Pep Talk here, Jeff’s wisdom and talent can be found on his own blog, God Complex. (You can also find some of Jeff’s opinions on the publishing industry in my interview with Jeff for my publishing series, The Pros and Cons of Traditional vs. Independent vs. Self-Publishing.) But, the best way to get to know about Jeff is to ask questions. So that’s just what I did. I hope you enjoy the resulting interview, below.

Kaye: When did you know you wanted to be a writer?

Jeff: I’ve kind of only ever had two passions in my life, music and writing. I wrote my first story when I was about ten years old, which also happens to be the age I wrote my first song. When I got older and met my wife, I realized being a musician wouldn’t be conducive to family life, what with touring and recording and the general pressures of the business. So at that time I decided to settle on my writing, and I haven’t looked back since. Good choice. You can write a song any old time you want. Short story tales are forever.

Kaye: What is the one thing in your writing career that is the most unusual or unique thing you’ve done so far?

Jeff: Let’s see … Probably the couple of comic scripts I sold to English comic book press FutureQuake. I’ve written everything from short stories, novelettes and novellas, to full-length novels, screenplays, newspaper articles, nonfiction, a bit of ghost writing, you name it. I found being diverse and far-reaching was way better than narrowing in on one small niche. At this point I could take a stab at anything, any time. Very helpful if you actually want to make a little money, and who doesn’t?

Kaye: You seem to have a bit of a preoccupation with God, which has certainly shown up in a lot of your writing. Can you tell us what that is all about?

Jeff: Ha ha, well I think I just found it to be the largest, most expansive concept in existence, right? I mean, I try to tackle topics and themes that are gargantuan in relation to small, fragile beings like you and I. That sort of thing has always appealed to me, so God was a natural extension, one most people have a strong gut reaction to in one way or another. My newer work–including my latest short story collection, dropping on March 28–has very little to do with God or gods or anything of that nature. I was also on a personal quest for God for many years, I suppose. I was raised agnostic, so my whole life I was searching for a reason to believe and worship, and corny as that might sound. Writing about Him always seemed like a good outlet for my spiritual curiosity.

Kaye: How many of your stories have been based on God to some extent, or featured God?

Jeff: Quite a few, actually. If not the Almighty Himself, I’ve tinkered with super beings, celestials, demigods, and everything in between. Most writers are timid about concepts. I go for the biggest, largest, hugest.

Kaye: Your thesis novel involves God, and Satan, too. Would you like to tell us a little about your novel?

Jeff: Sure. Body of Heaven, Body of Darkness is a contemporary horror fantasy. Harold Math watches in terror as God and Satan, each ten miles tall, beat each other to death in the rural desert of Nevada. Booze and anxiety become his life, until a strange, supernatural boy in a red cape causes a terrible car wreck that kills his fiancé and unborn son. The world slips into chaos as the deaths of the two immense beings herald national disasters and the destruction of the city of Los Angeles. A horrifying hell-beast emerges in the chaos and begins terrorizing the country, even as Harold reunites with an old flame and tries to put back together the shattered pieces of his life. At last, the boy in the cape reveals himself to Harold as the all-knowing Will of the Universe. He’s chosen him and three others to destroy this contamination before it spreads.

 

Kaye: In addition to being a very talented writer, you are an artist, as well? You did the cover for Godling, right?

Jeff: I did. Just sort of produced it on the fly. I don’t have any training or know-how really. Plenty of talent to spare though, I guess. This is my humble face. Can’t you tell? 😀
Kaye: Your stories are very unusual, your descriptions vivid. How do ideas and images develop into stories for you?
 Jeff: Well they don’t just come, that’s for sure. Most of the time I have to kind of open myself up to the universe, if you will. If I’m actively looking for ideas, working to make it happen, they often occur to me. Thing about really unique story ideas is that first blush versions of them are usually tame and have the potential of having been done before. I like to take a concept and cook it a while before I ever hit the page with it. A lot of the unusual nature of my work has come from a need to be myself. Twists and turns develop in the actual plotting. It’s hard work trying to sell stuff no one’s ever seen before, but so worth it when you do.

Kaye: You’ve had quite a few things published, including a comic book. How did that come about? Did you do the artwork for that? Or was it collaboration? Tell us about the process in either case?

Jeff: No, I didn’t do the artwork. I wrote the script and submitted it to the publisher just like you’d do with any short story. They accepted it and paired me with an artist. I got to see his work evolve over the course of several months, and it was always rewarding to check out what true artistic talent could do with my material. I couldn’t draw like that if you paid me. Writing a comic book script, though, it’s something I urge a lot of science fiction and fantasy authors to try out. Very cool, very challenging medium to work in.

Kaye: Other than God, what kinds of things of things influence your writing?
 Jeff: Movies, video games, life in general. I sort of belong to a generation that’s grown up on 24-hour media and all-encompassing entertainment options. It’s no wonder my stories are fast and loaded with concepts. I don’t think I ever intend my work to come out unusual for the sake of being unusual. Maybe it’s an attention deficit thing. I get bored with stories very easily.

 

Kaye: What are your favorite genres to read? To write?

Jeff: Science Fiction, Fantasy, and Horror are my bread and butter. I like to read and write nonfiction and more literary work as well, but my home and my love will always be speculative stuff. It’s what I was raised on, so it’s the most natural thing in the world for me. Star Trek, Lord of the Rings, Star Wars, Marvel and DC, all these mega-nerd story types and franchises, I probably dream the stuff at this point.

Kaye: What is the biggest challenge for you when writing short fiction?  Or when tackling a novel-length work? How about when writing comic books?

Jeff: For short fiction there’s always a push and pull between expressing myself fully, telling an engrossing story, and making something concise and fully realized with a limited word count. Novels are tricky because they’re a marathon, a long-haul project, though I find the actual writing to be easier than short form on a day-to-day basis. Comic book scripts are another beast altogether. Kind of the ultimate test of a writer’s mettle when it comes to precision and execution. Highly recommend writers try it out at some point. Probably learn a thing or two in the process. Sometimes it pays to be a mad scientist with your writing. Take no prisoners! Hold nothing back!

 

Kaye: Which is your favorite type of writing? Short fiction? Novels? Comic Books?

 Jeff: I’ve produced way more short fiction than just about anything else, though I find I don’t like reading it all that much. Books and comics, those are my favorite forms of entertainment, though movies and video games are also very important to my storytelling diet.
Kaye: Is there anything unique or unusual about your writing process?
 Jeff: No, I don’t think there is. I don’t have any cute tricks or rituals. It’s a simple equation, really: apply ass to seat and type until something’s done. There’s no accounting for hard work, and the writers who make something of themselves rarely do so without a ton of discipline and a healthy work ethic. You’ve got to write on even when you don’t want to. Especially when you don’t want to.
Kaye: What do you like to do when you’re not writing?
 Jeff: Game. Did I mention video games? Oh, I did? 😀

 

Kaye: Any advice for aspiring writers?

Jeff: Absolutely. NEVER GIVE UP!

 

You’ll probably find people in your life will try to dissuade you, or in the very least, that they’ll lack enthusiasm for your work, your calling, until you’ve been at it long enough you finally start to see results. You can’t let that get to you. Apply ass to seat and type until something’s done. Writers are a funny breed few people understand, and sometimes we become crotchety and bitter. But the truth is if you’re going to do this thing, you’ve got to stay focused and disciplined. Much like writing a novel, this job is a marathon. Many very famous authors had to work their butts off for years, if not decades, before people finally took them seriously. I will say it again. NEVER GIVE UP! PROMISE!

 

So, now you know a little about Jeff Bowles, which is good, because you should know who is giving you a writing Pep Talk. I hope you’ll join us every first Wednesday to read what morsels of writing wisdom Jeff has to offer. And I hope that now you’re as excited as I am to have him join the Writing to be Read team.

Interested in Jeff’s writing? Check out his latest short story collection, Godling and Other Paint Stories: https://www.amazon.com/Godling-Other-Paint-Stories-Bowles-ebook/dp/B01LDUJYHU

Twitter: @JeffBowlesLives

Facebook: http://www.facebook.com/jeffryanbowles

Tumblr: http://authorjeffbowles.tumblr.com

Amazon Author Page: https://www.amazon.com/JeffBowles/e/B01L7GXCU0/ref=sr_ntt_srch_lnk_1?qid=1479453494

YouTube’s Jeff Bowles Central: https://www.youtube.com/channel/UC6uMxedp3VxxUCS4zn3ulgQ

 

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“Horror 101: The Way Forward” Offers Good Advice for Authors and Screenwriters

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This is the longest book review I have ever written. This book was so packed full of useful information for rising authors and screenwriters that I felt I needed to cover it all. If you are an upcoming horror author or screenwriter, trying to figure out how to get a foot in the door or where to start in the matter of launching your career, Horror 101: The Way Forward offers “career advice by seasoned professionals”. Different writers will find different essays useful, so I’m giving you a rundown on all the informative essays included.

Compiled by Crystal Lake Publishing, this collection of essays has something for every writer. The anthology features quotes from the masters such as Stephen King, Ray Bradbury, Isaac Asimov,  J.R.R. Tolkien, Jack London, Clive Barker, H.P.Lovecraft, Edgar Allen Poe and many others. Advice from professional writers and editors covers all aspects of the horror writing business, and the business of writing, in general. From submitting your work, to marketing and promotion, to self-publishing and building your writing business, to crafting your work and the writing process.

The answers to many questions on the topic of submissions and all other aspects of writing as a business are found within its pages. Not getting positive response from your queries? First read Rejection Letters – How to Write and Respond to Them by award winning author Jason Bark, which offers an attempt to write a rejection letter that doesn’t sting, (at least, not so much). Then, flip to Seven Signs that Make Agents and Editors say “Yes!” to learn what agents and editors look for. Buttoning Up Before Dinner by horror author Gary Fry also offers advice to put you in the good graces of publishers and editors and create well-written stories.

Unsure how to submit your work? Submitting Your Work: Read the F*****g Guidelines by freelance writer and editor John Kenny offers tips for making a professional submission from an editor’s perspective. And What a Short Story Editor Does by horror, fantasy and science fiction editor Ellen Dallow explains the responsibilities of short story editor.

Looking for sound career advice? Be the Writer You Want to Be by television writer and novelist, Steven Savile recycles the best writing advice the author was ever given. The Five Laws of Arzen by award winning dark fiction author Michael A. Arzen offers hints to help you survive a writing career. How to Fail as an Artist in Ten Easy Steps: A Rough List Off the Top of My Head, by Confirmed Failure… by horror author John Palisano provides a reverse list of things you should do to be a successful writer.

Wondering if you need an agent to get your work in front of editors and publishers? Do You Need an Agent? by author Eric S. Brown is a discussion about the need, (or not), for an agent and relates the personal experience of how the author became successful without one. Also included are essays on building your writing business in Balancing Art and Commerce by author and screenwriter Taylor Grant , offering a look at various mediums one can write in and earn a living & advice in the business of writing. There are even essays offered on the lucrative business of ghostwriting, with a personal experience as a ghostwriter shared by dark fiction author Blaze McRob, and Ghostwriting: You Can’t Write it if You Can’t See It by award winning author Thomas Smith instructs on how to step into the author’s shoes and write like them.

If you are hoping to find some help muddling through the vast world of marketing and promotion, The Year After Publication by horror & thriller novelist Rena Mason offers an account of what to expect once you publish your first book and a walk through the exhaustive process of book marketing. How to be Your Own Agent, Whether You Have One or Not by horror writer, editor and publisher Joe Mynhardt offers tips for marketing your stories and yourself.  Reviewing by founder of Ginger Nuts of Horror, (one of the most viewed resources in horror fiction), Jim McLeod discusses getting your book in the review pile & what the writer should do while awaiting publication of the review.

If you’ve  not attended a conference or convention before, Pitch to Impress: How to Stand Out From the Convention Crowd by editor R.J. Cavender provides a guide to making a pitch that will snag agents’ and publishers’ attention. Tips for networking at conferences are offered by dark fiction author Tim Waggoner in You Better (Net)Work, and Networking at Conventions by Bram Stoker Award winning author Lucy A. Synder offers a look at the benefits conventions have to offer and a breakdown on some of the major ones for horror writers.

There is a plethora of advice offered on publishing, including a comparison of traditional publishing vs. digital publishing in Weighing Up Traditional Publishing and Ebook Publishing by award winning author Robert W. Walker; Publishing by editor and publisher Simon Marshall-Jones compares publishing in the digital arena with the way it was done in the past & how to become an independent publisher; and Glenn Rolle Toes the Line with Samhain Horror Head Hancho, Don D. Auria by Glenn Rolle with Interview that maps Auria’s rise to the top.

The arena of self-publishing is also explored in Make Your Own Dreams by horror and suspense novelist Iain Rob Wright. Besides being a plug for self-publishing’s evening of the playing table. It relates personal experience and advice for self-publishing, walking us through the self-publishing process. Self-Publishing: Thumb on the Button by author Kenneth W. Cain gives a list of things to think about before you choose to self-publish.

Also included are essays on the different mediums for horror: Poetry and Horror by Blaze McRob, and Horror for Kids: Not Child’s Play by novelist Francois Bloemhof offers guidelines for writing horror for youth. Several essays on comics and screenwriting, (one of the biggest outlets of horror today), are also included.

Horror Comics – How to Write Gory Scripts for Gruesome Artists by novelist Jasper Bark discusses the craft of writing horror comics and the relationship between writer and artist. Some Thoughts on My Meandering Within the World of Dark and Horror Art by artist Niall Parkinson offers thoughts on creating dark and horror art. So You Want to Write Comic Books… by novelist C.E.L. Welsh discusses what goes into the making of a comic book.

From Pros to Scripts by author and screenwriter Shane McKenzie talks about the many challenges of screenwriting. Writing about Films and For Film by award winning writer, editor and screenwriter Paul Kane gives the story of the author’s rise to success and tips for learning the lingo of the business. Screamplays! Writing the Horror Film by award winning author and screenwriter Lisa Morton offers the basics of screenwriting, description and dialog, and tips for getting your screenplay made into a movie. Screenplay Writing: The First Cut is the Deepest by author, director and editor Dean M. Dinkel recaps of the author’s experience at the Cannes Film Festival.

Essays on writing a digital world include Running a Webserial, or How to Lose Your Mind, One Week at a Time by Southern author Tonia Brown, providing a brief history of serials and a rundown of what goes into running one on the web; Friendship, Writing, and the Internet by Bram Stoker Award winning novelist Weston Ochse with reflections on online connections with like-minded writers, and Audiobooks: Your Words to Their Ears by horror novelist Chet Williamson discusses what it takes to create and audiobook and what to expect from the effort.

Of course, there is also plenty of advice on crafting a quality story. What is Horror? by author and novelist Graham Masterson offers general writing advice which could be applied to any genre and instructs on how to push your writing to the edge. The Journey of “Rudy Jenkins Buries His Fears” by author Richard Thomas takes us on a walk through of the writing, editing and submissions process of a story. Writing Short Fiction by horror and thriller novelist Joan De La Haye offers tips to tighten your writing and move the story forward, and discusses where to look to sell your story and how to choose where to submit. Ten Short Story Endings to Avoid by Scottish horror novelist William Meikle supplies a valuable list, if you want to avoid having readers feel cheated. From Reader to Writer: Finding Inspiration by publishing and editing consultant Emma Audsley  offers advise for attacking the blank page. Writing Exercises by horror writer Ben Eads  provides exercises in description and dialogue. Writer’s Block by short fiction writer and novelist Mark West discusses how to keep the creative juices flowing. Editing and revision are covered with Editing and Proofreading by author and editor Diane Parking presents good reasons not to send out a first draft, and How to Dismember Your Darlings – Editing Your Own Work by Jasper Bark gives a brief guide on how to self-edit.

A few essays outline the needs of a writer and suggestions on how to meet them. Filthy Habits – Writing and Routine by Jasper Bark  offers a look at the benefits of creating a daily writing routine. A Room of One’s Own – the Lonely Path of a Writer by horror and fantasy writer V. H. Leslie discusses the need for solitude and space to write in. Writing Aloud by screenwriter and author Lawrence Santoro outlines the benefits of reading aloud as a part of the writing process.

Also included are Partners in the Fantastic: The Pros and Cons of Collaborations by novelist Michael McCarty, which looks at the views of various authors on collaborations, and Writing the Series by series author Armand Rosamilia, which explains why Rosamilia writes series.

Several essays offer advice specific to writing in the horror genre. Making Contact by award winning novelist Jack Ketchum discusses how to turn what you know into a horror show. Bitten by the Horror Bug by horror author and screenwriter Edward Lee looks at what motivates us to write horror. Reader Beware by author Siobhan McKinney explores the role fear plays in horror. Bringing the Zombie to Life by author Harry Shannon maps out four components of a good zombie story. The Horror Writers’ Association – The Genres Essential Ingredient by author and President of the Horror Writers’ Association (HWA), Rocky Wood gives  a rundown on the HWA

What’s the Matter With Splatter? by horror writer and Vice-President of the AHWA, Daniel I. Russell discusses the use of blood, gore and splatter in horror fiction or screenwriting, gives tips on how to use it to gain the desired effect, and discusses why some gore doesn’t get a second thought. Avoiding What’s Been Done to Death by British horror writer Ramsay Campbell defines good horror fiction & emphasizes originality. The (Extremely) Short Guide to Writing Horror by dark fiction author Tim Waggoner offers an introduction to writing horror, including techniques and brief definitions, and a list of good resources for horror writers. Growing Ideas by horror writer Gary McMahon offers a look into the author’s writing process. Writing Horror: 12 Tips on Making a Career of It by horror novelist Steve Rasnic Tem instructs on building your own writer’s toolbox and advice for entering the profession of writing horror. The Cheesy Trunk of Horror by international best selling author Scott Nicholson provides a look at both writer and reader perspectives on horror and dark fiction. Class: Vaginas in Horror by science fiction, urban fantasy and horror novelist Theresa Derwin offers an overview of women in the horror industry. And the afterward by Crystal Lake Publishing’s editor, Joe Mynhardt, includes his own advice for writing horror.

Horror 101: The Way Forward is based on the sound advice of seasoned professionals that is useful to horror writers in any stage of their careers. I recommend it with four quills for anyone who wants to write horror in either fiction or screenwriting.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.


Monthly Writing Memo: The One and Only Writing Rule

As almost every writer knows, anywhere you go to discuss writing will always have someone proclaiming their tried and true rules for writing that you MUST follow. Post on any writing forum whether it be for screenwriting or fiction and you’ll find dozens, if not hundreds, of eager “expert” or “professional” writers ready to tell you exactly which rules matter and which are hogwash. Yes, many of these writers have published novels or sold scripts and are professionals in the industry, but does that mean their rules are THE rules to follow?

Absolutely not.

Let me say that again – Absolutely not. Just because someone has sold a script or published a novel or piece of writing doesn’t mean that they will be able to give you rules to writing that will be guaranteed to work on your story. If you put every writer who ever sold something in a room and asked them to come up with a master list of writing rules it’d be impossible. There’d be factions who think you can never write in present tense and others who think a description of the weather should never start a novel.

There’d be groups who think the epitome of literary or cinematic genius is one specific piece of work, and others who think that same work is a crock of shit. If the people who are actually selling works of writing cannot agree on what makes good writing, and which writing rules are always true, then how on earth can a newbie writer even dream of making it in the industry, let alone be brave enough to even try to put words on the page?

Ultimately, all of this boils down to one single fact about writing: There are hundreds of rules for writing, but one of those rules is that there are no rules. Now before you dip out of this article, because that’s a useless piece of advice in the previous sentence, give me a chance to elaborate.

Writing is a subjective thing. Every story is going to require following a different mix of rules to make it work. That’s why whenever I write a post about the “rules” of writing, I try to explain which situations the rule applies to, and where it might not apply. Also, every writer is going to have different opinions about what makes a good story, and every publisher/studio/audience is going to have a different opinion about what they find marketable and worth buying. If this is true, which based on the evidence presented through comparing a wide range of published and produced pieces of writing it is, then the one and only real rule for writing is that you have to know the “What” and the “Why” of your story.

Essentially, knowing the What’s and Why’s of your story is all about researching the genre or style of writing you want to write by studying the existing works in that genre, and being conscious about your story and your writing choices so that you can answer the following questions on each project you work on:

  • What writing “rules” do you have to follow for this particular story? In general, writing rules are not actually rules at all, but rather they’re typical or common guidelines of storytelling that work or don’t work based on previously existing works. So knowing what “rules” you have to follow just means you know which “rules” actually apply to what you’re writing, and which don’t. If you’ve done your due diligence and prep work before writing by studying other works that are similar to what you want to write, then you should have a general idea of what the common rules of that style or genre of story are, and which might apply to your story.
  • Why are you following or ignoring these rules? Every time someone tells you a “rule” for writing, it’s important to understand why the rule exists, and where it applies. For your own work, always be able to justify why you’re breaking one set of rules, and why you’re following other rules. You may not have to follow all the “rules” in your writing, but people come up with these various rules for a reason, so understanding why they exist will help you understand why you need to follow certain ones and ignore others in your work.
  • What is your setting, characters, plot, etc.? If you don’t know this when you’re writing, then your writing will probably be all over the place. Some people can free-write and discover a lot of these details as they go, but it is almost universally true that having these elements solidly in mind before writing will make your writing stronger.
  •  Why are you choosing these characters, this setting, that plot, etc.? Ultimately, the core of writing is to make deliberate choices and to be able to justify those choices as being ones that serve the story. Every character, setting, plot device, and elements of your story down to word choice can have a major impact on your writing. The more deliberate and conscious you can be in your choices, the more your writing should come together to tell a successful story.

As you can see, this one and only writing rule really boils down to being conscious about each choice you make in your writing and constantly asking yourself why whenever you are presented with a “rule” that someone thinks is universally true. All of these “rules” people come up with regarding writing are the results of people looking for the magic formula to a guaranteed sale on a piece of work, and they find it by looking for common elements across sold pieces of writing. While it is often true that these elements do exist, there are also just as many pieces of writing out there that break these trends.

Every story is its own thing and has its own identity, and I’m a firm believer that if you focus on serving the story rather than trying to force it to fit pre-existing rules or expectations, then your story will be better for it. I’m not saying you’re guaranteed to sell it, no one can guarantee that, but I am saying if you stay true to your story even if it means breaking the rules, your story will be stronger.

The important thing is to know what “rules” exist and to be able to justify why you broke these preconceived rules that people have and to show that you did so consciously. Ultimately, people aren’t going to focus on whether you broke the “rules” or not with your writing when deciding to buy it, they’re going to focus on whether you’ve put in the work to construct a compelling story that people want to read. If you do that, nothing else matters.

 

Robin Conley offers great writing advice once a month on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.


“Don’t Wake Me Up”: A Young Girl’s Journey to Find Who She Truly Is

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Don’t Wake Me Up, by M. E. Rhines, is an intriguing YA paranormal romance dealing with out of body experiences. However this story addresses the issue of teen date violence, and handles it in a very believable way.

When Colleen’s boyfriend, Jimmy, assaults her, her thoughts and emotions become confused. Her mother has him arrested and forbids her to see Jimmy when he’s released, and one BFF warns her away from him while the other acts as if she could excuse his behavior. Jimmy acts as if he owns her and suddenly she is afraid of him, afraid like she never was before. But, he has her undying love, doesn’t he? And she’d do anything to be with him, wouldn’t she? Suddenly Colleen is not so sure how she feels.

She has had the ability to travel in the astral plane ever since her father was killed in a fire five years ago, but she never expected to find romantic love there. The whole idea is ridiculous. After all, the only people she meets there are the spirits she helps to cross over and her spiritual guiding angel, Gina.

Colleen is an active character who is very likable, as are her two BFFs, Lilly and Eva. Jimmy not so much, but then, he is the story’s antagonist, so we really aren’t expected to like him. The secondary characters all could have been more developed, but then again, for the purposes of this story, perhaps they didn’t need to be.

I found Don’t Wake Me Up to have an original plot line, with three basic story arcs, which cross over each other in spots, but are all skillfully drawn together at the end. I give it four quills.

Four Quills3


“Cast No Shadows”: A Collection of Ghostly Tales

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Cast No Shadows is a Curiosity Quills Press anthology of ghost stories for YA readers, but some may not be what you’d expect when you think of ghost stories. Stories such as The Last Act of Keri and Trent by Derek McFadden or Nellie’s Playmate by Lorna McDonald Czarnota use a different POV to tell their tale, and aren’t crafted to bring goosebumps to the flesh, but to unfold a ghost’s story in a creative way.

In other stories seeing and/or talking to ghosts is treated as a common every day occurrence. Stories such as Amity or Tillie in Utica by Jordan Elizabeth, Ghostly Affection by Grace M. DeLeesie, The Sun Valley Bistro by Kae T. Quinn, Ghosts of Holy Cross by Ashley Pasco, Graveyard Dust by Heather Talty, A Minor Matter of Deatb by W. K. Pomeroy, Death of a Necromancer by Misha Murphy, Ghost of Shadmoor Park by Grant Eagar, and Simon and the Ghost by Jeremy Mortis are crafted to entertain and make readers think, rather than to scare.

Still other stories in this collection are intended to surprise readers with the unexpected, as in Attic Secrets by Ashley Pasco, The Regal by Jeremy Mortis, Dark Rider by Amy L. Gale, The Sailor by Lisa Oaks, Sarah by Rachel Pond, The Staircase by Clare Weze, A Trace of Time by Joan O. Scharf, Try Me by Christine Blake, or Yankee Inn by Jordan Elizabeth.

Which is not to say that you’ll find no stories here that contain that eerie scare factor. It’s a large anthology, and stories like Faceless by James McNally, This Ol’ Haunted House by Gloria Slade, Jacked by A. F. Plant, Silent Opera and Swamp by Joan O.Scharf are aimed at stirring up that creepy feeling within readers.

Stories that I feel did this the best were Moving in with the Ghost by A Elizabeth Zumchak, Sweet Hollow Road by C. K. Raggio, House on Hazlenut Lane and The Blood Stained Handkerchief by Jordan Elizabeth. These four would be the five quill stories out of the entire collection, the ones that replay in your mind when you lay down to sleep at night.

Overall, I thought this anthology  was a great group of ghost stories for a YA audience. Even the scariest ones achieved the effect without being too gruesome or violent. I give Cast No Shadows four quills. Four Quills3

Kaye gives honest book reviews and she does not charge for them. If you have a book you would like reviewed contact Kaye at kayebooth[at]yahoo[dot]com.