Craft: Mastering the Story’s Beginning
September 13, 2024 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Beginnings, Craft, engaging openings
Techniques for Engaging Openings
Once upon a time may work for fables, but choosing the right place for a story to ensnare readers is every writer’s worry.
The key is to hook them from the first paragraph. The following are a few ways to keep the pages turning. Setting the Scene creates a vivid picture to draw readers into the narrative, making them feel as though they are part of the story:
The courtroom was a hive of activity. The smell of polished wood and the rustle of papers filled the air as the jury filed in, their faces a mix of curiosity and solemnity.
Much of what works best has to do with the genre. Fiction readers enjoy imagery or action to engage and generate the narrative. Imagery is the use of descriptive language that engages the reader’s senses to create vivid mental pictures and evoke sensory experiences making the scenes, characters, and emotions more tangible and immersive.
Imagery in nonfiction writing makes real events, facts, and concepts more vivid and engaging for the reader. It can bring descriptions of people and places to life, making them more memorable and impactful. A Question or Statistic Lead might be your answer to a best-seller.
A Descriptive or Imagery Lead uses vivid descriptions to paint a picture and draw readers into the scene:
The morning sun casts a golden glow over the bustling farmers’ market. Stalls overflowed with vibrant fruits and vegetables, their colors a feast for the eyes. The air was filled with the scent of fresh bread and the sound of cheerful chatter.
Here are some examples of imagery:
Visual: The morning sun cast a golden glow over the bustling farmers’ market.
Auditory: The rumbling sound of load on load of apples coming in.
Olfactory: The air was filled with the scent of fresh bread.
Gustatory: Her lips tasted as sweet as sugar.
Tactile describes textures and physical sensations: The kitten’s fur felt like a velvet curtain.
Kinesthetic: I feel the ladder sway as the boughs bend.
Organic is about internal sensations, like hunger, thirst, fatigue, or emotions: A pang of anxiety tightened her chest.
Using sensory details can help simplify and clarify complex ideas:
Imagine the brain as a bustling city. Neurons are the streets, constantly transmitting signals like cars zipping through traffic. Synapses, the intersections, control the flow of information, ensuring everything runs smoothly.
An Action Lead jumps straight into the story to create an immediate sense of urgency:
The storm unleashes its fury upon the small coastal town with a deafening roar. Waves crash against the shore, and residents scramble to secure their homes against the onslaught.
An Anecdotal Lead starts with a brief, engaging prose that sets the stage:
Last summer, while hiking through the dense forests of the Appalachian Trail, I stumbled upon an old, abandoned cabin. Its weathered wood and broken windows told a story of a time long past, sparking my curiosity about the lives that once thrived there.
A Quotation Lead starts with a powerful quote that relates to your theme. This can lend authority and context to your story.
“The only limit to our realization of tomorrow is our doubts of today.” These words by Franklin D. Roosevelt resonate deeply with anyone striving to overcome personal obstacles and achieve their dreams.
A Question Lead poses a thought-provoking question to engage readers:
Have you ever wondered what it takes to turn a simple idea into a successful business? For many entrepreneurs, the journey is filled with challenges, triumphs, and invaluable lessons.
A Statistic Lead begins with a surprising or compelling statistic to grab attention:
Did you know that nearly 70% of adults experience imposter syndrome at some point in their careers? This pervasive feeling of self-doubt can hinder even the most accomplished individuals.
A Dialogue Lead uses a snippet of dialogue to introduce characters and set the tone:
“I can’t believe we’re finally here,” Sarah whispered, her eyes wide with wonder as she gazed at the ancient ruins. “It’s like stepping back in time.”
Once the words are on the page, find the sentence that resonates best with your theme. Your opening should hook the reader immediately. Use one of the leads mentioned above to draw them in.
Be concise, every word counts. Avoid unnecessary details and focus on the core message. Have a clear beginning, middle, and end. Ensure each section transitions smoothly to the next. Keep your readers engaged with interesting anecdotes, vivid descriptions, and compelling stories. Edit to eliminate redundant or weak sections to aim for clarity and impact.
By starting your story with a strong lead and following these tips you can craft a compelling opening.
Happy writing!
Diane Sismour
Diane Sismour gave up her hard-hat to write dark, suspenseful stories that keep fans up at night. Her characters (and readers) never know what perils await them or the predicaments they must resolve. Unable to restrain her passion for storytelling to prose, she is now writing adaptations of her works for the screen.
She lives with her husband in eastern Pennsylvania at the foothills of the Blue Mountains, where they own Leaser Lake B and B. Diane enjoys traveling to conferences to reunite with friends and meet fans. She’s a member of national and local writing and screenplay groups.
Why Do You Read Blogs? by Debra H. Goldstein
August 13, 2024 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Blog posts, Debra H. Goldstein, Give-a-way, mysteries, reading
There are many reasons I write blogs, such as this one. Some include interacting with readers, hoping to attract new readers, sharing my thoughts in a forum that reaches more people than journaling would, and because I enjoy it.
My blogs range from a personal topic that crosses my mind to blatant self-promotion. I want people to become familiar with my five books in Kensington’s Sarah Blair series. If you don’t already know, unlike most cozies, Sarah is a woman who finds being in the kitchen more frightening than murder. I also hope University of Michigan or academic fans will check out IPPY winning Maze in Blue, a mystery set on U of M’s campus, or that traditional mystery lovers will pickup a copy of Should Have Played Poker. If I’m not pushing my series and standalones, I often use blogs to promote the newest anthology or periodical I have a short story in. Sometimes, I utilize a blog to introduce readers to other writers or books that they might not otherwise be familiar with. Finally, I try to direct people to sign up for my newsletter or my personal “It’s Not Always a Mystery” blog from my website: https://www.DebraHGoldstein.com.
I also subscribe to several blogs and read them religiously for their humor, insight, or because I like the people who write them. At this point, I keep telling myself that I shouldn’t sign up for another blog, but I feel an obligation to follow friends or people who interest me. Of course, if they tend to be too long-winded, I merely glance at the heading and hit delete (do you ever do that?).
To me, the soft spot for a blog is 300-500 words. Just enough for a reader to take the ideas that it is conveying in immediately. Usually, I try to make one major point that the reader will leave with. Although a lot of bloggers do giveaways or share personal tidbits, that’s not why I follow them (okay, maybe for the personal tidbits. Let’s be honest, I also read People magazine and TV Guide from cover to cover).
Why do you read blogs? Why do you follow this specific blog? Leave a comment for a chance to win a copy of my first Sarah Blair mystery, One Taste Too Many (mass market or e-book – U.S. only). I’ll look forward to reading your answers.
Judge Debra H. Goldstein (www.DebraHGoldstein.com) is the author of Kensington’s Sarah Blair mystery series and two standalone novels. Her novels and short stories have received Silver Falchion, IPPY, BWR, and AWC awards and been named as Agatha, Anthony, Derringer, and Claymore finalists. Debra’s short pieces have appeared in numerous periodicals and anthologies including Alfred Hitchcock Mystery Magazine, Black Cat Mystery Magazine, and Mystery Weekly. A national board member of Sisters in Crime, Debra previously served on the national boards of SinC and MWA and was president of the Guppy and SEMWA chapters.
Books by Debra H. Goldstein
Books from Bethlehem Writers Group
Hot! Hot! Hot! by Carol L. Wright
July 13, 2024 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as 2025 Short Story Award, anthologies, BWG, Carol L Wright
And we’re not even talking about the summer weather. What’s so hot right now?
Hot topic #1:
This month, the Bethlehem Writers Group, LLC, announced the winners of its 2024 Short Story Award competition for works of 2000 words or fewer on the theme of “Holiday Tales.” For this competition, “holiday” was defined as anything from U.S. Thanksgiving through New Year’s Day. The talented authors whose stories are honored are:
First Place: Rhonda Zangwill, New York, NY, for “Oh! Christmas Tree”
Second Place: Bettie Nebergall, Mt. Dora, FL, for “Just Ask Santa”
Third Place: Mary Adler, Forestville, CA, for “Nellie the Narragansett and the Transferware Platter”
Honorable Mentions (in alphabetical order by author’s last name):
- A. C. Blake, West Columbia, SC for “A Feast to Die For”
- J. Bosley, New York, NY for “A Wintry Mix”
- Joan Mularz, Palm Beach Gardens, FL for “Cousin Bonnie’s Plus One”
Many thanks to Marlo Berliner, our Guest Judge, who selected this year’s winners.
Hot topic #2:
For the first time in the history of the Short Story Award, BWG decided to offer print publication to the second- and third-place winners instead of only to the one who won first-place. This means that you’ll get to read all three of these terrific stories in one volume.
Hot topic #3:
The book in which these stories will appear, Season’s Readings: More Sweet, Funny, and Strange® Holiday Tales will be published this fall in print (ISBN: 978-1-954675-04-9) and ebook (ISBN: 978-1-954675-05-6). In addition to this year’s contest winners, the 2023 contest first-place winner, Sally Milliken’s “First Thanksgiving,” will also be included. And, of course, you’ll also get stories from the authors of the Bethlehem Writers Group. Some of the stories are heart-warming, others quirky, and still others with a hint of magic. Watch for the book to be available on October 1.
And a bonus sizzle for writers!
As if the book coming out on October 1 weren’t enough excitement, we’ll also be unveiling the 2025 Short Story Award competition that day in the fall issue of Bethlehem Writers Roundtable (https://bwgwritersroundtable.com). For next year’s contest, which will open on January 1, 2025, we’ll be looking for stories of science fiction and/or fantasy, and this year we’ll allow the stories to be a bit longer with a 2500 word maximum. The top three winners will receive cash and offers of publication (in print or online in Roundtable). We’ll have all the info for you in October, but until then, sharpen your pencils, grab a cool drink, find a place in the shade, and fire up your sci-fi/fantasy muse. Your story could be the next hot topic!
Enjoy your simmer, er summer.
Book from BWG
Books by Carol L. Wright
Poetry Lesson: A metered approach to writing prose
June 13, 2024 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as inspiration, poetry, prose, writing
At a recent writers conference (the Write Stuff in Bethlehem, PA) keynote speaker Jonathan Maberry shared that he reads poetry for 30 minutes every day. He does it, he said, because it helps inspire his prose.
I have a fair amount of poetry on my shelves, and I do enjoy reading it, but I don’t read it every day. (I don’t write poetry; or rather, the poetry I write is best not shared with anyone.)
But Maberry has a point: Poetry can tell a story, illuminate a concept, or create a mood with a minimum of words—each word chosen by the poet because it’s exactly the right one. And that approach can inspire our writing of prose, because honing language is also what we strive for when we revise and polish our manuscripts.
I went to my poetry bookshelf and randomly pulled several volumes:
- Paul Muldoon, Horse Latitudes
- Sharon Olds, Strike Sparks
- Billy Collins, Nine Horses
- Mary Oliver, Why I Wake Early
- Natalie Diaz, Postcolonial Love Poem
- Sarah Arvio, Visits from the Seventh
For this exercise, I skipped over my book of Shakespeare sonnets and any poetry anthologies, as well as the two books of poetry I’m currently reading: Life on Mars by Tracy K. Smith and The Best of It by Kay Ryan.
I’ll share a snippet from the poets listed above and what struck me about their passages.
From Mary Oliver’s “Snow Geese” (breathtaking visual image)
One fall day I heard / above me, and above the sting of the wind, a sound / I did not know and my look shot upward; it was / a flock of snow geese winging it / faster than the ones we usually see, / and, being the color of snow, catching the sun / so they were, in part at least, golden
From Natalie Diaz’s “The First Water Is the Body” (depth of the soul)
We must go until we smell the black root-wet anchoring the river’s mud banks. We must go beyond beyond to a place where we have never been the center, where there is no center—beyond, toward what does not need us yet makes us.
From Sharon Olds’ “The Promise” (interesting juxtaposition of opposing elements)
With the second drink, at the restaurant, / holding hands on the bare table, / we are at it again, renewing our promise / to kill each other.
From Sarah Arvio’s “Malice” (superb characterization)
An ever-so-alluring deceiver / is the one who tells you your every dream / as though it were the truth of the future; / meanwhile there you stand in a wash of sweat, / your hopes lifted high only to be dashed.
From Paul Muldoon’s “The Old Country” (clever wordplay)
Every malt was a single malt. / Every pillar was a pillar of salt. / Every point was a point of no return.
From Billy Collins’ “Absence” (metaphorical excellence)
This morning as low clouds / skidded over the spires of the city / I found next to a bench / in a park an ivory chess piece— / the white knight as it turned out— / and in the pigeon-ruffling wind / I wondered where all the others were, / lined up somewhere / on their red and black squares, / many of them feeling uneasy / about the saltshaker / that was taking his place
I came away from this exercise re-energized to dip into poetry regularly—most likely not every day, but perhaps weekly, when I’m staring at my screen, wondering how to dig myself out of the writing hole I’ve created. A poetry break may help provide just the shovel or pick axe I need.
What poets do you read? How have they influenced your writing?
Dianna Sinovic
Certified Book Coach, Editor, Author
Anthology contributor: That Darkened Doorstep, An Element of Mystery
Blog contributor: A Slice of Orange
Member: Sisters in Crime, Horror Writers Association, Bethlehem Writers Group
Diasin Books LLC
www.dianna-sinovic.com
“Art is fire plus algebra.”
– Jorge Luis Borges
From The Bethlehem Writers Group, LLC
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The Seven Challenges I Love About Writing Short Stories by Jerome W. McFadden
May 13, 2024 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Jerome W. McFadden, Short Stories, writing, Writing Advice
Multi-award winning Jerome W. McFadden’s has had forty short stories published over the past ten years in magazines, e-zines, and a dozen anthologies. His efforts have won him several national awards and writing contests, receiving a National Bullet Award for the Best Crime fiction on appear on the web in June 2011. His short stories have been read on stage by the Liar’s League in Hong Kong and the Liar’s League in London.
After receiving his B.A. from the University of Missouri, he spent two years as a Peace Corps volunteer in Casablanca, Morocco. Following his MBA from the Thunderbird Graduate School of Global Management (Arizona State University). He continued his peripatetic ways with corporate assignments in Houston, Istanbul, Paris, San Francisco, and Singapore, spending his spare time writing free-lance articles for American and newspapers and magazines. He morphed from journalism to short fiction in 2009. He now resides in Bethlehem, Pa. and is an active member of the Bethlehem Writers Group. His collection of 26 short stories, Off The Rails, A Collection of Weird, Wicked, & Wacky Stories, appeared in November, 2019.
The Seven Challenges that I Love About Writing Short Stories
1) You need to get into the story from the very start:
Every word in a short story matters. Time and space are limited. You cannot afford to waste a page or two describing the weather, building the setting, or giving the genealogy of your hero/heroine. You need to get to the guts of the action quickly, pulling the reader in with the first paragraph. By the end of the first page, the reader should be aware of the famous 5 W’s of journalism: Who, where, when, what, with why possibly coming later.
2) You need to quickly define the core of the story:
Short stories follow only one trajectory — one arc—concerning one character (or a small group of characters) traveling through one primary crisis or concern. The crisis or concern is in fact one shattering moment in that person’s (or group’s) life that he/she must work through, successfully or unsuccessfully. Note: That shattering moment does not need to be violent. It could be emotional, psychological, mental, or spiritual, or other. But it needs to be challenging. *
3) You must develop your characters rapidly:
Characters must be constructed with complexity, credibility, and emotion—in as little as a sentence or two. The writer must show character development while actively moving through the story’s narrative. You do not have time or space for the big old info dump. Instead, the writer needs to use clever dialogue, interactions, short flashbacks, and sharp imagery to develop the story’s characters.
4) You are allowed only so many characters in the story:
You are limited to a small cast of characters. A full cast might consist of only one or two characters. Any character you decide to introduce must bring something crucial to the story – or be eliminated. Bringing in a character for “cuteness” or for “color” or just because you like the quirky character in your head, is wasting precious words and precious space in your story. A good rule: Any character that does not bring in two vital elements into the story needs to be eliminated forthwith.
5) Short stories require a strong pace and balance:
Recognize the descriptions and dialogues that slowing the story down, as well those that are those that are moving the story along. You must identify the best place to start, where to put the opening scene that hooks the reader, then maintain that hook to continue to pull the reader through the rest of the story.
6) Short stories teach you to trim the fat:
Short stories leave no time for easing into things (long descriptions, banal conversations, interesting but boring backstory, wild personal tangents). Short stories are just that—short—but they must always pack a punch. This may be the ultimate skill to be learned from short story writing: Trim the fat. My favorite writing “rule” comes from the legendary writer Elmore Lenonard, “Leave out the parts that the readers skip.”
7) A great short story must create an emotional impact:
The stronger, the better. And a great twist at the ending helps make the story memorable.
An added note: The tools and skill you pick up from writing short stories are assets that can and probably should be used in your novel writing.
*This “shattering moment” is described lovingly and in full detail in Chapter 3 – The Big Key in James Scott Bell’s wonderful book How to Write Short Stories And Use Them to Further Your Writing Career.
A Selection of Books with Short Stories by Jerome W. McFadden
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THREE TREATS TOO MANY
When a romantic rival opens a competing restaurant in small-town Wheaton, Alabama, Sarah Blair discovers murder is the specialty of the house . . .
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