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Smart Alec (Syndrome)

October 15, 2013 by in category Archives tagged as , , ,

Ingrid Bergman/Gaslight

“Are you trying to gaslight me?”
I asked a friend that when she swore I had never delivered the book I promised to loan her.  Instead of laughing, she looked at me like I was speaking another language and in a way I was. My friend had never seen the movie Gaslight in which the dashing Charles Boyer attempts to drive the vulnerable Ingrid Bergman mad by lowering the gaslights and insisting the change in lighting is all in her imagination. The plot is a bit more intricate than that, but the point is that my frame of reference was completely foreign to my friend’s and the joke fell flat.
As authors we often write with abandon when we’re in the zone. We research all sorts of things that we believe will give our work legitimacy. To us this information is perfectly sound and critical to the integrity of our novel; to the reader that same information can be confusing or, worse, interpreted as arrogant.  The last thing an author wants to do is take her reader out of the story. The other last thing an author wants is to have the story suffer because she doesn’t include critical information.
How do you walk the fine line between being a smart author or a smart Alec? Take a deep breath, recognize the pitfalls, and apply your talent to finding new ways to communicate even the most intricate information.
Genres that are most susceptible to the Smart Alec Syndrome include :
  • ·      Procedural (police, medical, legal, etc.)
  • ·      Historical
  • ·      Literary

Symptoms of the Smart Alec Syndrome are the use of:
  • ·      Foreign words and phrases
  • ·      Insider references
  • ·      Acronyms
  • ·      Historical, legal, medical references
  • ·      Rare, anachronistic, and/or exotic words

Cures for SAS (Smart Alec Syndrome) can include but are not limited to:
  • ·      Use opposing dialogue for explanation and definition. This may be accomplished  through agreement, amusement, derision, etc.
  • ·      Use the omniscient voice to explain and explore a concept
  • ·      Find another way to explain the word or references that retains the integrity of your work
  • ·      Choose the vernacular but craft a sentence that reflects the tonal uniqueness of the original choice
     Analyze and adjust your work and you will be a Smart Author not a Smart Alec.

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THE NAKED NOVELIST

September 15, 2012 by in category Archives tagged as , , , , ,

Recently, I spoke at a conference in Massachusetts. My presentation was an hour long.  For the other 47 hours I was there I mentored aspiring novelists. On the flight home, I wondered why I had bonded with so many of these amazingly talented, bright and interesting people in a way I never had at conferences before. It was because we shared something. In this brave new world of publishing, we all came naked to the table.
Obviously, I am not being literal. In some ways, a Lady Godiva moment would be preferable to that of the Emperor’s New Clothes. Sitting down with an agent, editor or published author to bare your creative soul is incredibly daunting. The new writer faces rejection of their vision, their dream, and their talent.
Because I started writing on a dare, because I had not dreamed of being a novelist all my life, I didn’t feel that creative vulnerability early in my career. It was only later, after I had published, after I flexed my writer’s voice, after I had touched someone who read my words, after I had seen books with my name covering a wall in a bookstore, when I saw my book on the USA Today best seller list that I craved what those writers did. It was also then that I was stripped bare in front of agents and editors who seemed to accept me as easily as they dismissed me; who thrilled at my successes and went on to someone else when there was a brighter star on the horizon. Because I was a businesswoman before I was a writer, I understood that publishing was a business, agents and editors had bottom lines and that fate, luck and fashion sometimes separated the bestseller from everyone else. It doesn’t make the journey any easier to understand that.
Still, I could not complain. I was making a living as a writer. I was grateful and happy. Then things changed again. I became an indie author: self-published, creatively naked as a jaybird, down the chute after being up the ladder, back to square one.
No great publishing house lays claim to my work, there is no editor validating my vision, no sales force singing my praises to booksellers who will pile my books in a pyramid on a table. There is, in fact, no book to hold or sign.  There are only the words I have written and saved to a file, a cover made of pixels and the upload to Amazon and Nook and Smashwords.  Now, it’s me and the reader. I am a click away from praise or complaint.  I have come naked to the table and I gotta say it is chilly in the chair.
I hope the writers I spoke with at the conference learned something from me. Here’s what I learned from them:
  • Published or not, we are brothers and sisters under the skin
  • Be courageous and present your work with pride
  • If you are asked for an opinion, give it knowing you have a responsibility to be honest
  • Our passion for the written word will keep us warm
  • Help a writer when you can, good things will return to you

So, a salute to the writers I met in Massachusetts. You were an incredibly creative and courageous group. My wish is that you will all be clothed in publication glory sooner than later.
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What A Dog!

May 15, 2012 by in category Archives tagged as , , , , , , , ,
My grand dog Tucker

Today a lady wrote to tell me she loved my book Hostile Witness* because I hadn’t killed Max. I’ve been traveling a lot in the last three weeks and it took me a minute to figure out who Max was and why it was so important to her that he was alive. Max, of course, is Josie Bates’ dog; Josie is the heroine of the witness series. I was touched by the reader’s concern for the fictional canine.

As an author and a reader I had to ask myself: Why is a book that includes animals richer, more entertaining, and more engaging than one without? The answer was simple: Animals bring out the best and the worst in a human character. This makes for great drama and provides an emotional touch point that is critical for an exciting read.

Max-the-Dog (his legal name) was originally created as a reflection of Josie, his mistress. Both had been abandoned, both had to fight for their lives, both were protective of others. But Max became so much more than Josie’s mirror as the series unfolded.

Here are four ways Max made a difference in the witness series:

HE ENHANCED HUMAN CHARACTERIZATION: Those who attack him were inherently more evil than a bad guy who ignored him. Those who love Max were more admirable because they cared for and protect him.

HE WAS AN ANIMATED SOUNDING BOARD: Internal dialogue can be tedious. Allow a character to speculate to an animal and the rhetorical questions or monologues sound natural.

HIS PRESENCE SET A TONE: A scene tone can be set by the way a human character speaks to or interacts with an animal counterpart. A whispered warning creates a much different tone than a screaming command; a languid pet conjures up different visions than a playful ruffling of fur.

HE HELPED MOVE THE PLOT FORWARD: An animal’s needs can put a human in a place they might not have been in. For instance, in Privileged Witness, Josie took Max out for his evening constitutional and ran into her fugitive client who was hiding outside. Without Max, Josie would have no reason to go outside and never would have discovered her client. An animal’s heightened senses can also assist a human to warn of danger or alert a human to a change in their surroundings.

From The Hound of the Baskervilles to Lassie and Blue Dog, My Friend Flicka and The Black Stallion, The Cheshire Cat and Puss-in-Boots, animals have frolicked as humans, served to reflect human frailties and strengths, and just plain worked their way into reader’s hearts because of who they are.

So, to the kind lady who was concerned about Max, have no fear. He will never come to a violent end. No matter what happens to him, his presence or lack thereof, will be a decision motivated by story and plot and, of course, love, because Max is as real to me as if he sat at my feet while I wrote my stories.

*Hostile Witness is free for all e-readers and is also available in print.

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Heck Yeah! Lawyers are so Appealing

September 15, 2011 by in category The Write Life by Rebecca Forster tagged as , , , , ,


By Rebecca Forster

If you are a lawyer, a judge, a clerk, a bailiff, I love you. Really, I do. And so do millions of fiction readers. They can’t get enough of you, in and out of the courtroom. In my book* you are exciting, intelligent, mysterious, courageous, resourceful, thoughtful, witty, well-spoken and you are heroic. Of course, there are times when you are vicious, deceitful, brilliantly cold and cruel and that is pretty nifty, too.

I am married to a judge (he’s pretty sedate) but he was once a lawyer and that is how my fascination with you all began. Yet, years of trial watching, staff chatting and transcript reading has created a bizarre obsessive/compulsive need to figure you all out. Since I haven’t been able to, I can at least explain why you are irresistibly inspiring to this novelist and fascinating to those who love to read about you.

1) You speak legalese. It is like French: mysterious, irresistible, intimidating. Throw in a little Latin – a quid pro quo or prima facia – and you can melt a woman’s resolve and strike fear into the hearts of mortal men.
2) You are confident. Is there a super- secret-double-indemnity-swear-on-your-mother’s-grave-and-never-tell class that teaches you how to argue any and every point of view with grace and conviction? **
3) Bad guys listen to you. They even pay you to tell them what to do. That makes you a little edgy by association and who doesn’t like a bad boy -or girl?
4) You’re altruistic, defending bad people because you believe everyone deserves a defense.
5) You’re altruistic, prosecuting bad guys because you believe in justice.***
6) You are eye-candy. From the couture clad divorce-attorney-to-the stars, to the public defender sporting a plaid jacket and pony tail and the plaintiff’s lawyer in that Italian suit you turn courthouse hallways into runway.
7) You are funny. Sometimes you mean to be funny. Either way, a funny attorney is charming.
8) You are excellent secret keepers, which is not to be confused with being trustworthy. Though I believe you are trustworthy, that is a point of debate.
9) You are curious and tenacious.
10) You are heroes and not just in the literary sense. In real life you (and your expertise) are often the only things standing between a person losing something important to them: their children, their fortune, their reputation, their freedom and, yes, their life.****

*Actually, in all my books since I write legal thrillers.
**This also means that your significant other, children or parent can never win an argument. Experience tells me, the only recourse a normal person has when arguing with a lawyer is to cry and proclaim: “You are right, you are always right.”  Works for me.
***A characteristic that make you the perfect inspiration for novels and films.
****You have my permission to show this list to anyone who questions your lovability, capability or worth. You may also use the aforementioned in advertising, closing arguments, opening statements and speed dating.

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Dialogue Tags: How To Kill Off Some Of The Little Buggers

April 10, 2011 by in category Archives tagged as , ,
By Sharla Rae

In Laura Drake’s recent blog My Editing Peeves, at www.writersinthestorm.wordpress.com/ she points out dialogue tags. I have to agree that too many “saids” on a page or even in a chapter are annoying. Sure, there are other tags like snarled, whispered, interjected, cried etc. But again, they stand out if overused. Included in this illustrious list are all the he and she thoughts.

After taking a hard look at tags, I realized something. Tags are tattletales! He said, he yelled, he whispered. It’s “telling.” And one of the first lessons in writing is to “show” not “tell.” Don’t you love how writing is like knitting? One set of rules always weaves into another set. Okay, back to the subject of tags.

We can’t do without tags completely, but we can kill off some of the little buggers.

With only two characters on stage, tag extermination is easier. Using new paragraphs each time one of the two speaks, eliminates the need for tags. Also, a character’s dialect, acccent or speech pattern may set them apart from other characters. Still, even with just two characters there are times it’s absolutely necessary to indicate who’s speaking to prevent confusion.

Now, place three or more characters on stage, and things get really complicated. Complicated but not impossible.

One of my favorite ways to kill of a dialogue tags is through the use of body movement and/or body language. If a character is moving or has a certain facial expression, we don’t need the tag. Body language has the added benefit of expressing emotion. In other words, using this method “shows” a character is angry, happy, or depressed.

Examples:

Instead of: “Stop it!” James said. [He could be angry but then again he could be laughing hard and telling someone to stop it. But if we say: James said, angrily, we’re telling.]

  • Try: James sliced the air with his hand. “Stop it!”
  • Try: “Stop it!” James held his sides, laughing.

Instead of: “Is she serious?” Amber asked, rolling her eyes.

  • Try: “Is she serious?” Amber rolled her eyes and laughed.

Instead of: “Gosh, I love this song,” Jill said, dreamily. [Yikes an ly word]

  • Try: “Gosh, I love this song.” Jill closed her eyes and swayed to the music.

Instead of: “Try it, you little weasel,” Jake bellowed. “Just try it.”

  • Try: “Jake’s palms slapped the tabletop. “Try it, you little weasel. Just try it.”

Instead of: “You jerk!” Pam screamed, swinging her handbag at him.

  • Try: “You jerk!” Pam lashed out at him with her handbag.

The same idea applies to the he or she thought tags.

Example:

Instead of: Can this day get any worse? Jane wondered.

  • Try: Jane slumped into the nearest easy chair and kicked off her shoes. Could this day get any worse?

Instead of: If he comes through that door, I’ll brain him, Jill silently vowed.

  • Try: If he comes through that door, I’ll brain him. Jill’s fingernails bit into her palms. [Shows determination]

Punctuation can be used to negate tags that indicate strong feelings. To demonstrate what I mean, I’ll use one of my above examples.

“You jerk!” Pam screamed, swinging her handbag at him.

Given there is an exclamation mark after jerk, we know Pam said this with strong feelings. Unless we want her screaming to draw the attention of characters around her, we don’t need to “tell” the reader she screamed. Also, her actions indicate anger and that makes the tag an even bigger overkill. But what if Pam said it under her breath so as not to draw attention? Do we need to say, she whispered? It works. But we could also say: Pam sneered and leaned close, her lips a mere inch from his ear. “Jerk.”

Note: Don’t over use exclamation marks. Again, body language will work just as well.

It must be said, though, that having all the characters on stage constantly nodding, scratching, dancing and throwing things would be just as annoying — not to mention ridiculous — as too many tags. So a few tags are allowed and in some instances they work better for a tight, straight to the point sentence.

I know of no set rules on how many dialogue tags are allowed on a page. The best rule of thumb is to vary your dialogue and cut them when possible. And if you’re still unsure, read the page out loud. Too many tags make the writing sound choppy. They also distract.

The right balance will result in tighter writing that “shows more and “tells” less.

Interesting related websites:

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