Karen S. Wiesner: Fiction Fundamentals: Writing Elbow Grease, Part 1 Introduction

 Writer's Craft Article

 Fiction Fundamentals: Writing Elbow Grease, Part 1

Introduction

 by Karen S. Wiesner

 Based on Cohesive Story Building, Volume 2: 3D Fiction Fundamentals Collection

 

In this three month, in-depth series, we're going to go over what could be considered the grunge work in building a cohesive story. Revising, editing, and polishing require a little or a lot of writing elbow grease to finish the job and bring forth a strong and beautiful book.

Once a builder has completed the house, interior painting, staining, and caulking are done, with carpeting as the last step. At that point, interior design becomes the priority. Room arrangements, color schemes, and window treatments, based on knowledge of what's available in the owner's price range and what's appropriate for each use, become the finishing touches. Everything that's done is a layer in develop the house into a home. It's in the final decorations that a solid house truly becomes a thing of beauty and a source of pride. Most new homeowners are dying to throw a party and show it off.

In writing, we have a similar layering. We can created layers through the creation of story folders, brainstorming, researching, pre-writing, outlining, and writing the first draft. (Imagine if you skip more than one of those steps! Your book is missing all those layers, and you'll definitely notice that it lacks some texture, quality, and strength as a result.)

Now we'll talk about the layers of strength and beauty that are added to a story through revising, editing, and polishing the first draft of the book. During this time, we rearrange, punch up the word colors of the book, clarify and beautify with the finishing touches that make it shine. Once you've finished this step, you'll be dying to send it out to those brave readers willing to take on the assessment of an unpublished work--those who will hopefully love it as much as you do. Even if they don't, they may help you see the strengths and weaknesses more clearly, and you can make the necessary changes before you begin submitting to publishers and agents. 

The stages involved with this layer include:

1.               Revising

2.               Involving critique partners

3.               Setting the final draft aside

4.               Final editing and polishing

By this point, you may have already completed an outline (hopefully, a cohesive one) that you've utilizing in writing the first draft of the book. Between these steps, you've hopefully let your story rest quietly on a shelf, ideally for a month or more each time. Stephen King calls this a "recuperation time", and it really is, considering the blood, sweat, and tears you've expended. When you take the manuscript down again to begin revisions, followed by editing and polishing, "you'll find reading your book over after a six-week layoff to be a strange, often exhilarating experience. It's yours, you'll recognize it as yours...and yet it will also be like reading the work of someone else...This is the way it should be, the reason you waited. ..."

Writing and revision are two completely separate processes that require different mind-sets, and therefore shouldn't be done at the same time. While writing a book, a simple need to polish words, sentences, or paragraphs can become a complete rewrite. This isn't a productive way to work when you're attempting to finish the first draft of the book. An unfortunate side effect of revising, editing, and polishing your story while you're still writing it is that you don't get the necessary distance from it in order to be able to revise effectively. You need to enter the revision phase with fresh, objective eyes once the first draft of the book is finished. Only then can you see the story as it really is. I love what Stephen King says about this process: "I'm rediscovering my own book, and usually liking it. That changes. By the time a book is actually in print, I've been over it a dozen times or more, can quote whole passages, and only wish the damned old smelly thing would go away. That's later, though; the first read-through is usually pretty fine." 

If you're building a house, you wouldn't start painting before all the walls were up. You wouldn't put in carpet before the plumbing and wiring were done because you'd end up having to tear out the carpeting in order to get the necessary plumbing and wiring in where they should be. Paint and carpet are the polish of a completed room; they're final steps in dressing it up. In the same way, writers should concentrate on finishing a full draft of the book before endeavoring to do any revision, editing, or polishing. 

Next week, we'll start the process of applying writing elbow grease with Stage 1: Revising.

Happy writing! 

Karen S. Wiesner is the author of Cohesive Story Building, Volume 2 of the 3D Fiction Fundamentals Collection

http://www.writers-exchange.com/3d-fiction-fundamentals-series/

https://karenwiesner.weebly.com/writing-reference-titles.html

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

Karen S. Wiesner: The Pick-up-the-Pace Ploy for Writers

 Writer's Craft Article by Karen S. Wiesner

The Pick-up-the-Pace Ploy for Writers

Based on COHESIVE STORY BUILDING (formerly titled FROM FIRST DRAFT TO FICTION NOVEL {A Writer's Guide to Cohesive Story Building}) 

While at one time in writing, it was popular to have long scenes. These days, shorter scenes are in fashion, and I feel there's good reason for that. If you want your book to be read swiftly, with pages flying, you can write one scene per chapter and keep those scenes short, with a single theme or purpose—this is an effective way to keep your readers from noticing they’re sitting in the real world with a book in their hands. In fact, your readers probably won’t even notice you're doing these things on a conscious level.

Short scenes accomplish several things:

Ø  In the most obvious sense, fairly short chapters allow the book to move along swiftly from one chapter to the next. Try reading a James Patterson thriller (and possibly his stories in other genres) if you want to see how this works in an almost shocking way. I won't deny that the brevity in these stories at times compromises dimensionality a little or a lot. However, if you want to see how pages can fly, you'll get that with his stories.

Ø  When chapters are short, there's generally a single focus. In other words, the scene has a singular purpose, a goal to achieve. The complication to the reader is minimal. He absorbs the premise easily and is ready to move on from that point when it's time. In the ideal that an author should continually be striving for, he'll get a hint of "future dimension" that will provide him with the eagerness to keep going.

Ø  Your reader is likely to read more in one sitting, since many will glance ahead to the next chapter when considering whether or not to stop reading for the time being. If the next chapter is short, he'll be much more inclined to read “just one more” chapter. Frequently, he won’t put the book down for several more short chapters.

Ø  Short scenes may produce more reviews that are likely to include comments like “page-turner,” “nail-bitter,” and “couldn’t put it down.” Who doesn't want that?

For example, Tracy Chevalier’s Girl with the Pearl Earring has no specific chapters or scenes. However, the book is divided into four parts, each based on a year in the life of Griet, the main character. Each scene within those parts is very short—in most cases, no more than a page or two—and scenes are divided with a fancy curlicue rather than numbered sequentially. I read the book in one sitting, in less than seven hours. The short scenes flew, always leaving me panting for more from one to the next. The singular focus was within each of these unspecified scenes, along with a whisper of what was to.

The only book I've ever read that does the opposite of "short, focused scenes" and yet has the same effect is The Ruins by Scott Smith. There are absolutely no chapters and almost nothing to interrupt the flow. When a scene ends, he skips one line and moves directly into the next without actual chapter breaks or even asterisks to break things up. Somehow this makes for a book that I read from start to finish in a single sitting whenever I take it off my keeper shelf. I literally cannot put it down once I start it.

If you want to pick up the pace of your book, try this simple method.

Karen S. Wiesner is the author of Cohesive Story Building

Volume 2 of the 3D Fiction Fundamentals Collection

http://www.writers-exchange.com/3d-fiction-fundamentals-series/

https://karenwiesner.weebly.com/writing-reference-titles.html

Happy writing!

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

https://karenwiesner.weebly.com/karens-quill-blog

http://www.facebook.com/KarenWiesnerAuthor

Karen S. Wiesner: Brainstorming: The Cure for Writer's Block (Writer's Craft Article)

Writer's Craft Article by Karen S. Wiesner

Brainstorming: The Cure for Writer's Block

Is writer's block an actual thing, or just plain laziness? Or, do you sometimes get to the middle of a project and find the process isn't working as well as it was or should be anymore? Is that writer's block, and if it is, what can you do to get moving again? I think I've found the cure for whatever it is that blocks or stalls writers, makes them hem and haw and avoid sitting down to write, or sends their brain on the fritz at the sight of a blank page.

Brainstorming is what turns an average story into an extraordinary one. It’s the magical element every writer marvels about in the process of completing a book. In Sometimes the Magic Works, fantasy author Terry Brook says that dreaming (a term referring to the back-and-forth process of brainstorming in the mind) opens the door to creativity and allows the imagination to invent something wonderful. It happens when your mind drifts to take you to a place you’ve never been so you can come back and tell readers about it. Possibly this is where writers got such a bad rap with those who see us as drooling zombies who are daydreaming constantly. Little do they realize that, until a writer has brainstormed adequately, she won’t have a story to tell.

Something every author covets is the ability to sit down to a blank screen or page and begin to work immediately. The secret to doing that is brainstorming! When you brainstorm constantly and productively during both the outlining and writing processes, you’ll always be fully prepared to begin writing without agonizing over the starting sentences or paragraph.

Notice I specified that you should brainstorm productively if you want the writing process to go smoothly and quickly without hiccups. That’s where your scene-by-scene story outline comes in. While creating a blueprint of every scene in your book, you won’t face writer’s block when you sit down to write each day. The day or week before you begin writing, start brainstorming on that scene. I also start brainstorming on upcoming projects sometimes years in advance. If I run into trouble with any book, I can fall back on continuous brainstorming to figure out another "spark" to invigorate the plot and compel it forward again. In desperate times, I set a project aside to allow time to work out the issues on the backburner of my mind with creative and constant brainstorming.

Oh, did you see what I just did here? I took away any excuse an author has not to sit down and immediately start writing. Oops. Make writer's block a thing of the past. Make 2022 the year you beat it by brainstorming constantly.

Karen S. Wiesner is the author of COHESIVE STORY BUILDING:

Do you have any tips for staving off writer's block? Leave a comment to tell me about it!

Happy writing!

Find out more about COHESIVE STORY BUILDING here: 

https://karenwiesner.weebly.com/writing-reference-titles.html

http://www.writers-exchange.com/cohesive-story-building/

** Exciting announcement:**

I've gotten the rights back to the last three writing reference titles that were originally published by Writer's Digest Books (and later sold at auction to Penguin Random). In 2022, they'll be released in a craft writing collection. Here are the details: 

3D Fiction Fundamentals Collection

by award-winning author Karen S. Wiesner

covers the A to Z's of crafting the highest quality fiction including how to:

·       Brainstorm and work productively to ensure that each stage in the writing process from prewriting to polishing produces masterful results the first time around. 

·       Create an outline so complete it actually qualifies as the first draft of your book, allowing your first written draft to be final-draft quality. 

·       Develop realistically three-dimensional and cohesive characters, plots, settings, relationships, and scenes so life-like and memorable your readers will be diehard fans. 

·       Effectively prepare for a series in advance to prevent painted-in-a-corner scenarios in order to keep fans coming back eagerly for each and every installment. 

·       Learn innovative techniques to write a complex sequence of stories that require overarching series arcs and immense world- and character-building. 

·       Craft sizzling back cover, series, and high-concept blurbs for describing, promoting, and selling your books. 

·       Maximize your potential and momentum for becoming a career author indefinitely.

With step-by-step guidelines, instructions, and tips throughout that are flexible and clearly written, imparting a layman's ease of understanding and can-do motivation, this collection may be the only writing craft books you'll ever need. Each volume has a bonus companion booklet available presented in usable digital format or paperback that includes all the aids from the main book that you can use in your own writing--and extras!

The seven volumes and bonus companion booklets in this collection are:

1. First Draft Outline formerly published by Writer's Digest Books as First Draft in 30 Days {A Novel Writer's System for Building a Complete and Cohesive Manuscript}

Bonus Companion Booklet for First Draft Outline

2. Cohesive Story Building formerly published by Writer's Digest Books as From First Draft to Finished Novel {A Writer's Guide to Cohesive Story Building}

Bonus Companion Booklet for Cohesive Story Building

3. Writing the Standalone Series formerly published by Writer's Digest Books as Writing the Fiction Series {The Complete Guide for Novels and Novellas}

Bonus Companion Booklet for Writing the Standalone Series

4. Writing the Overarching Series {or How I Sent a Clumsy Girl into Outer Space}

Bonus Companion Booklet for Writing the Overarching Series

5. Three-Dimensional Fiction Writing formerly published by Writer's Digest Books as Bring Your Fiction to Life {Crafting Three-Dimensional Stories with Depth and Complexity}

Bonus Companion Booklet for Three-Dimensional Fiction Writing Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plots, and Relationships}

6. CPR for Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plots, and Relationships}

Bonus Companion Booklet for CPR for Dead or Lifeless Fiction

7. Writing Blurbs That Sizzle--And Sell!

Bonus Companion Booklet for Writing Blurbs That Sizzle--And Sell!

 

More details about this at  http://www.writers-exchange.com/3d-fiction-fundamentals-series/

https://karenwiesner.weebly.com/writing-reference-titles.html

Karen Wiesner is an award-winning, multi-genre author of over 145 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

https://www.goodreads.com/karenwiesner

http://www.writers-exchange.com/Karen-Wiesner/ 

http://www.writers-exchange.com/blog/ 

https://www.amazon.com/author/karenwiesner

Karen S. Wiesner: HOW TO SPOT DEAD OR LIFELESS CHARACTERS, PLOTS, AND RELATIONSHIPS (CPR), Part 3 (Writer's Craft Article)

Writer's Craft Article by Karen S. Wiesner

HOW TO SPOT DEAD OR LIFELESS CHARACTERS, PLOTS, AND RELATIONSHIPS (CPR), Part 3

Based on CPR FOR DEAD OR LIFELESS FICTION {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships} by Karen S. Wiesner

This is the final of three posts focusing on how to spot dead or lifeless characters, plots, and relationships in your fiction

A lack of development and progress in character, plot, and relationship is something that can be seen throughout an entire book and sometimes the whole of a series. James Scott Bell advises asking yourself, "Who cares?" and "What's the purpose?" to ensure validity and clarification of the reason for each scene even existing. I'd add for clarification that characters, plots, and relationships all need to have a reason for existing. If readers are never engaged on even one count of core elements, what's the purpose of the book existing and, honestly, who cares if it gets read? If there isn't passion burning inside all three of the core elements, bursting out so the story has to be told, there is quite literally no point to starting, continuing or finishing. For anyone.

Development of all three elements is crucial and progression has to be evident from one scene to the next. If something is actually happening in a story with all three of the CPR elements, the reader will want to stick around to find out more--to find out everything, with a sense of avid anticipation and participation rather than frustration and disengagement, uncertainty, and dissatisfaction.

Off the top of my head, I can think of two current bestselling authors writing series focused on main characters in white collar fields. In both series, the stories are plot-leaden (as opposed to merely heavy). These authors are known for action-packed stories, and they deserve kudos for providing that every single time. However, in both cases, the series are almost completely character and relationship-development deficient. In either, beyond what the main character does for a living--with above-average intelligence--we learn almost nothing about him personally, about his current life beyond his work and the story quest, about his past and his future drive. All his internal conflicts and goals and motivations are plot-focused to the point where his own private needs and desires are rarely if ever considered or attended to. Relationships never feel well-grounded. They happen in the present--and they merely happen. We're given only sparse glimpses about what occurred between characters in the past and those glimpses are cold without strong, emotional connections, memories, or developments. Readers don't feel any encouragement about future developments with those relationships either. Personal attachments--temporary or otherwise--serve the plot. Period.

The sheer evidence of the insufficiency of character and relationship development lives in how neither author includes enough "downtimes" (a point in which the main character takes a rest from the action to reflect) within the extreme action sequences of the individual stories. The main character in both series is almost constantly running from or toward something. He doesn't sit down and ruminate on his life, let alone take that time to cultivate strong connections and emotional attachments with the people running around with him. As a result, the consequences are muted, lacking both tension and intrigue, and certain exhaustion (also for the reader?) may be the only end-game in sight.

Whenever I read these series which are admittedly enjoyable (though ultimately disappointing because of all the reasons I mentioned above), I'm forced to imagine the author holding a doll of his very popular series character and slam-driving that poor, defenseless thing through one breath-stealing action sequence after the other without a single break in the arduous trek each book goes through. Nothing personal breaks up these ruthless tasks the character is given back-to-back in every story.

But, not only are the creators forcing the characters through the motions, the authors aren't going beyond those motions themselves--and that's the biggest travesty of un-/underdevelopment of core elements. In both cases, the main character isn't dead but he's almost certainly lifeless. Unfortunately for demanding readers who want three-dimensional core elements, the intrigue here is with plots (and--in a stretch--settings, which is a component of character development) almost exclusively. I consider these particular characters little more than zombies. Yes, there is a semblance of life. The POV character is actually moving around, going through the motions, but he isn't actively living, breathing, or functioning beyond basic instinct in direct response to the plot, which he serves. With a little more effort, these authors could actually breathe life into all CPR elements of these series stories and make them wonderful and memorable beyond the exciting plots.

Fix this axiom in your mind: Character reveals plot and relationships, just as plot and relationships reveal character, and relationships reveal character and plot. This trinity is vital to the cohesiveness of your stories. They work together to unearth, connect, and layer a story. The strongest stories are the ones in which every part of the story--the characters’ role, physical descriptions, personalities, strengths and weaknesses, relationships, skills, conflicts, goals and motivation, and even settings--becomes cohesive and fits together organically. We’ve all read books in which the key aspects didn't quite merge naturally. Maybe we didn’t notice a specific issue, but we knew something was off, lacked logic, or didn’t quite fit with the rest of the story, and the imbalance frustrated us. There’s a chance you never finished reading those books. The ones that you absolutely cannot put down and that stay with you every minute of the time you’re reading them and for years afterward are the ones in which every aspect is so intricately connected that separating the threads of CPR development is difficult, even impossible.

While it should be easy to spot dead or lifeless conditions in our characters, plots and relationships, it's nowhere as simple as author would like it to be. In this three-part article, we've gone over some of the telltale scenarios that may reveal if any aspect of your CPR development is outright dead or simply lifeless, in whole or in part with the "alive" part potentially carting around the "lifeless" or "dead" elements. So often these scenarios are utilized as if they're legitimate methods in so-called CPR development--and they can't and shouldn't be. The scenarios in this article should help you pinpoint if any of your core elements are dead or lifeless.

Have you ever read a book with dead or lifeless relationships? Leave a comment to tell me about it!

Happy writing!

Find out more about CPR FOR DEAD OR LIFELESS FICTION here: http://www.writers-exchange.com/cpr/

https://www.amazon.com/dp/B08JDYXMFQ

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

https://www.goodreads.com/karenwiesner

http://www.writers-exchange.com/Karen-Wiesner/ 

http://www.writers-exchange.com/blog/

https://www.amazon.com/author/karenwiesner

Karen S. Wiesner: HOW TO SPOT DEAD OR LIFELESS CHARACTERS, PLOTS, AND RELATIONSHIPS (CPR), Part 2 (Writer's Craft Article)

Writer's Craft Article by Karen S. Wiesner

HOW TO SPOT DEAD OR LIFELESS CHARACTERS, PLOTS, AND RELATIONSHIPS (CPR), Part 2

Based on CPR FOR DEAD OR LIFELESS FICTION {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships} by Karen S. Wiesner

This is the second of three posts focusing on how to spot dead or lifeless characters, plots, and relationships in your fiction

 It should be simple to spot dead or lifeless CPR conditions in our characters, plots, and relationships, I know, but it's unfortunately anything but. I feel your pain in identifying dead or lifeless CPR elements because it's a question that been with me from the very first book I wrote. With the need to identify dead or lifeless CPR development in mind, let's go over some general ways that should pinpoint whether any aspect is dead or merely lifeless. In the chapters that follow, identification will allow us to give the lacking areas either the kiss of life or a jolt of electricity. 

Poking and prodding your characters, plots, and relationships in all the compass points with sketches should exhibit some reaction one way or the other. When you start asking questions about all of these things, getting absolutely no response--beyond a blank, cadaverous stare--is clear enough. Yup, dead. Time of death? The moment of execution. (Forgive the really bad pun.)

Merely lifeless core elements, however, may show a few signs of life and that's what makes lethargy in development so hard to spot. As we said earlier, conceivably, some evidence of development can allow those areas that are at least functional to carry around the dead elements. In these cases where the book is already published and the functional elements are hoisting the dead ones in a sack over the shoulder, readers may even overlook your failure because the solid development of those one or two core elements gives the reader part of what he's seeking.

The identification of partial necrosis is almost always deeply startling to readers. There are times when I'm reading a story I'm enjoying but not in an in overwhelmed, obsessive way that I'll suddenly visualize the author's hand holding the character as if she's a puppet or a dead body, forcing a certain situation on the poor thing. That hand will move the character around in response to action, even thrusting another story puppet/dead body up against her in a contrived effort to make something happen between the two that's equally artificial, awkward, and not a little disturbing.

One aspect or another in a story like this is undeveloped or underdeveloped and, in the course of reading, I'll usually, eventually, figure out what's lacking. Maybe the main or secondary characters have no obvious signs of life, nothing that makes them unique, no legitimate personality, personal goals or motivations. A main character's conflicts as they're portrayed may not convince me she truly cares about them, has an intensely personal investment in them, or that they're cohesive with what's been set up as who this person is and what's she's all about in other aspects.

Whether the conflicts are internal or external, the story may not feel like it's actually hers. Events are randomly happening to her, and there's no personal connection to them. She's not authentically motivated to act in the face of what's happening to her. It may be easier for her to run away--and that goal at least may feel legit. When she's compelled to react, jerky clunkiness may be the result, more robotic than flesh and blood.

Also, her relationships might not seem quite realistic and deeply planted, growing enough to feel warm and realistic. Maybe she's going through the motions with these people who are part of her life, but even those most intimate ones don't go in-depth enough to spark emotion in me, as the reader. In the worst case scenario, I've read romance stories where relationships are integral to the genre yet those attachments had little or no depth, dimension, desire, or connection between two people who were supposed to be falling in love and making romantic, reading hearts swoon. If a romance story doesn't include strong, profoundly emotional relationships, it's failed on the most elementary level.

I've also read books and even series--some of them that were actually published--where the author has deigned to give a main character a first name, neglected the last, and sometimes doesn't bother with physical descriptions or details about the past nor "drive" for the future that would fully flesh out the character. Plots and conflicts (and the corresponding, crucial goals and motivations) are almost always spur of the moment, created scene by scene, no setup, no buildup, no curiosity, and certainly no tension. The relationships feel cold, stilted, off-focus, frequently with secondary characters that serve no other purpose in the story beyond being soundboards for the main character or, worse, merely bulking up the word count. Even if a minor effort has been made to plant foundational seeds of character, plot, and relationship, so often those seeds aren't developed and advanced properly or at all throughout the subsequent scenes in the book. They're buried so deep, it's not possible for them to come out to see the light of day and flourish.

In Part 3, we'll talk more about how to spot dead or lifeless CPR development.

Have you ever read a book with dead or lifeless plots? Leave a comment to tell me about it!

Happy writing!

Find out more about CPR FOR DEAD OR LIFELESS FICTION here: http://www.writers-exchange.com/cpr/

https://www.amazon.com/dp/B08JDYXMFQ

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

https://www.goodreads.com/karenwiesner

http://www.writers-exchange.com/Karen-Wiesner/ 

http://www.writers-exchange.com/blog/ 

https://www.amazon.com/author/karenwiesner