Category Archives: General Interest

The Perils of Being a Woman Writer and First Things First

By Mary Gillgannon

It’s not easy being female and a writer. As a woman, you’re less likely to be taken seriously or to gain the respect of the public and your peers. If you write romance, as I do, the trials are even greater. The implication is always there that anyone can write “one of those trashy little books.”

I’m used to that kind of attitude and mostly shrug it off. But I’ve recently become aware of another burden of being a woman who writes fiction. Females are trained from early childhood to be empathetic, social and “helper bees.” We learn to support other people, to encourage and commiserate and be there for them. In many, many ways this is a very good thing. Civilization and probably humanity itself would not have survived without female social skills. But sometimes we take things too far, to our own detriment.

Last spring, I signed a contract with a small press. In my welcome letter, I was told I needed to join the loop for the publishing house’s authors and also a loop where those authors share promotional ideas. Dutifully, I did so.

The number of emails I get daily has been creeping up for years. It includes advertising emails as well as the RMFW loops and an on-line loop for writers of Celtic romance. Sometimes things get pretty active on these loops. I’m used to getting up to 100 emails a day.

But suddenly, with the new loops, my emails doubled. My publisher’s writers are a very enthusiastic, active bunch. Many of them have regular blogs, run contests and other promotions and on-line activities. And they like to celebrate anything good and, occasionally, commiserate over bad things. New covers, new releases, contest wins, great reviews, terrible reviews, all those things result in a flurry of emails expressing congratulations and support. It gets almost ridiculous sometimes, with people thanking people for posting a comment thanking them for a blog post, etc.

But even though they sometimes take it overboard, I will admit the loop members are truly wonderful about promoting their fellow authors. They tweet and share on Facebook. They offer blog opportunities and sign up to take part in on-line parties and special promotional events. With a new book coming out at the end of the year, I need to do some of these things. And I can hardly ask the members of these loops to promote my release or my blog or whatever, if I don’t do some of the same things for them.

But all of this patting each other on the back and even the genuine promotion of reciprocal tweets and shares, comes at a price. Time.

I used to be able to get through my emails in half an hour or so each morning. Delete the ads, except for those I want to check out later (I have a bad shopping addiction.), respond to those celebrating a special event or success, and keep in touch with friends and family (mostly done on weekends, when I have more time). But recently I realized I was spending over an hour each morning dealing with email. And another hour or more if I take time to post on Facebook, write for my sadly-neglected blog, or do other writing business.

And I can’t afford to lose that time, because mornings are my best writing time. Every extra minute I spend on email is a minute I’m not writing. Which leads me to the second thing addressed in this blog: My decision to make writing my book the first thing I do when I sit down at the computer each morning.

Two other writers and I recently did a six-week writing program at the library where I work. When we got to the class on promotion, each of us mentioned the axiom we’ve heard for years: “The best thing you can do for your career is write the best book you can.”

Whether that’s true or not, I do know that one of the best things you can do for your career is have another book published. Because the way it works is that sales lead to more sales, especially in a series. And I’m not going to have another book in this series I just started unless I make writing it a priority.

At the same time, I worry that I’m being a bad “loop-member.” That I’m being selfish and unfair if I don’t show support to my fellow authors but expect them to help me when my book comes out. The guilt, oh, the guilt! But I guess I’ll just have to live with it. The reality is, writers write. And all the rest of it has to be lower priority.

THE BACK NINE: SPRINTING FOR THE FINISH LINE OF YOUR NOVEL

By Kevin Paul Tracy

In golf, “the back nine” refers to the second half of an 18-hole golf game. It’s often used as a metaphor for finishing up, or approaching the culmination of a goal. Other sports analogies would be: “the home stretch;” “first and goal;” or “sliding in to home.” In writing I use it to refer to those last ten-to-20 thousand words of your manuscript. You’ve gotten past the swamp, that middle part of the novel that’s not set-up, not climax and denouement, just complication. You’re finally driving everything toward the final conflict and resolution.

Complex Fiction Plotting Chart

But sometimes, if you’re like me, getting all of your characters on stage and where they need to be at just the right time for everything to come together can be a challenge. One of the greatest examples of this is J.R.R. Tolkien’s Lord of The Rings. The first book in the trilogy, The Fellowship of The Ring (actually there are six books in the series, but they are most frequently sold as a trilogy, of which Fellowship consists of the first two) brings the major protagonists most of the way to the land of Mordor, the major goal of Frodo the Ringbearer. But Tolkien has three or four major battles to write about (Isengard, Helms Deep, The Black Gate, etc.) before the final destruction of the ring. So while Gandalf, Aragorn, Legolas, Pippin and the like all criss-cross the country several times over, fighting and having adventures, Tolkien finds excuses to waylay Frodo and Sam, not once, but repeatedly, to keep them from Mount Doom, which is quite literally in sight most of the time, until he can get everyone else to the battle at The Black Gate to see what happens when (SPOILER ALERT) the ring finally gets destroyed. If I may critique what is arguably one of history’s great works of fiction, the ways in which Frodo meets delay after delay always seemed rather shoe-horned in, to me.

Deliberate or not, I think we can do better. Some suggestions…

If you are having trouble with logistics, getting everyone where they need to be for the final conflict, ask yourself if the final conflict has to happen where you have set it. Is there another venue, already used in your story or not, where the confrontation can take place, that your more difficult characters can get to in the same time frame? Asking myself this once led me to the discovery of a much cooler place to present my final resolution than I’d originally planned, that now I routinely ask myself this question, even if I’m not having timing difficulties.

If you’re approaching your maximum word-count, but you still have a lot to fit in, look at ways to time-jump. For example, is it necessary to describe the heist team planning the rescue of a team member from police custody while driving to the courthouse? Or is it sufficient to simply say, “On the drive to the courthouse, the team put together a hasty and daring plan for rescuing Mr. Yellow from the cops.” Then you can just let the plan unfold as it happens, which is often much more effective than laying it out for the reader before-hand.

The absolute worst is coming toward the end of your manuscript, only to become suddenly aware of a glaring flaw in your plot, something someone is bound to notice and pan you for in their online review of your book. I’ve seen writers try to plug this plot hole by suddenly cramming in at the end of their book some spontaneous and transparently make-shift explanation that rarely fools anyone. No, in such a case there is rarely anything you can do but go back and rewrite and fix it the right way. I recently encountered such a flaw that required me to go back to the half-way point of my book and rework everything drastically from that point on. It was a pain, but there is no question the novel is much stronger for it.

At any rate, whatever logistical or timing challenges you encounter as you’re “rounding turn number four” toward the completion of your manuscript, keep in mind, you’re almost done! That should be a grand motivator. Stay agile and be flexible and find creative ways around bottlenecks and log-jams. Often your characters are where they are in the book for a reason, inconvenient as it may be, and sometimes it is incumbent upon you to work around that and still bring in a strong, satisfying conclusion to your story.>/p>


Check out Kevin’s latest releases, the wonderfully entertaining espionage thriller, “Rogue Agenda,” a startling and engrossing gothic thriller “Bloodflow,” and don’t miss Bloodtrail, the upcoming sequel to Bloodflow.

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On The Dangers of Writing Fictional Men

By Colleen Oakes

I remember discussing Twilight (a book I’m not embarrassed to admit I loved) at length with a couple of girlfriends, right around the height of the hysteria that captured a nation of teenage girls and forced a lot of grumbling married men to watch Robert Pattinson stare for hours at an exasperated Kristen Stewart. We were all sitting around my sister’s kitchen table, a bottle of wine open, and our books open on the table. My friends were listing off Edward’s desirable traits:

“He’s strong and a perfect gentleman!”

“He’s rich – he loves to spoil her.”

“He worships her and sees her for who she truly is!”

I remember leaning back and considering the implications before reminding them that “He” was written by a woman. HE is a myth of our own making.

There is a danger in fictional men written by female writers. As a female author, I see this trait in myself: a propensity to write perfect, flawless men. It’s only natural – I want to give my characters the best of the species to interact with; a man who is all things that my character needs, a man who is the combined fantasy of a thousand women. He encompasses our deepest desires, he listens with the ears of our therapists and girlfriends, his touch is like wildfire – he is the male equivalent of the lady in the living room, whore in the bedroom mythos. He is all these things and more. He is a delightful illusion of the needs that we don’t feel are being met: a portal directly into our disappointment.

There are a litany of sins committed when we write men this way. First, we do a huge disservice to our characters. Our characters don’t need perfect. They need complicated. They need hurdles. They need emotional resonance, for their hearts to harden like diamonds under conflict. Their minds need expanding, and above all, no character needs easy. There is no book, no story in “easy”, and a perfect man without flaw is easy. While Edward might make our hearts beat a little faster with the intoxicating attraction of teenage love, it’s the real men, flawed men – think Jack Nicholson in As Good As It Gets – that really can turn our heads. Interesting is better than good.

The other danger in writing perfect men is that the writer, or even the reader can experience projecting – that is, when they project the expectations of a fictional character onto their real life partner. My husband, who is the best man I’ve ever known, can’t compare to a fictional man in women’s fiction. He doesn’t create elaborate dates involving hot air balloons or gallons of rose petals. He doesn’t love to clean, and he definitely never buys me cars or takes me swinging through the trees because his super strength makes me weigh practically nothing. There are no sunset horseback rides, although sometimes we do go to our favorite Thai restaurant for dinner and he lets me have one extra wonton. Our life lacks a certain romantic danger, but that’s okay, because our life is real. He may not be the rippling hunk of muscle with a secret fortune squirreled away, but this year when he dressed up like a Sith Lord to take our son, dressed as Yoda, out for Halloween, I could have fainted with adoration. He’s held my hair as I threw up in Las Vegas, he cried alongside me when we met our son for the first time, and he will never ever get his pajamas into the hamper. Ever.

But that’s okay, because he’s real. He is not a fantasy created by a female writer who is fulfilling her every Cosmo-inspired fantasy. He’s a man of flesh and blood and burps.

We don’t like it when men shove us into a box of their own pre-packaged unrealistic expectations.  Let’s not do the same.

A Few Bad Habits

By Mark Stevens

You brush your teeth. You comb your hair. You make a pot of coffee.

You’re on auto pilot, right? Not much brainpower required.

Your head is busy elsewhere, thinking ahead. Or something.

You sit down to write.

Man oh man, that first sentence of your new bestseller is going to be carved and shaped and chiseled to perfection. That first paragraph, too. Hey, go for it, the whole first page.

Then you get into the meat of the story and, well, not every image sizzles. Not every scrap of dialogue sparkles.

Your writing brain (okay, I’m taking about myself here) goes back into teeth-brushing mode.

Relaxed. Unfocused. Drifting.

And stupid.

I recently wrapped up a new manuscript. Two editors worked it over. Seven beta readers took it out for a spin. And before I hit “send” to the publisher, I decided to search deep, down in the muck of the narrative.

Not a pretty picture.

Those “weasel” words. The crutches, the lazy crap. (I wrote about this issue a couple months ago in recommending a tool called Visual Thesaurus; obviously I’m obsessed.)

To the manuscript: I did a search for the word “few.”

Stevens_FewThe bottom line?

Out of 100,000 words, 154 of those were the word “few.” In other words, .15 percent of all the words I used (out of the 1 million plus available at my fingertips) was the word f-e-w.

Even though this word is meaningless, blah, imprecise, blurry and out of focus, my slack writer brain had reached for it—over and over and over—like a strung-out junkie looking for a fix. Stare at the word for a minute and you’ll see how pointless it is. I’ll wait here….

Funny—neither of my editors’ noticed the overuse of this crutch word. None of the beta readers, either.

But there it was, this fuzzy bit of gunk dragging down all those sentences and my question is this: how do I let this happen when I’m writing that first draft? Does the brain go slack? To sleep? Into auto-pilot mode?

Maybe it doesn’t matter. Maybe that’s just part of getting out that first version.

Maybe. It scares me to think that my writing brain doesn’t note when it’s being a lazy ______. If I’m willing to put that word on the page, what other slop is creeping in?

By the time I’d hit “send” to my editor, only seven instances of “few” remained in my manuscript. Each of the other 147 sentences were fortified with a better, more precise word choice that (I hope) leaves the story on more solid foundation.

Is this part of the process of editing and refinement?

Or does my sloppy style the first time around mean I wasn’t really seeing, listening and actively writing?

It’s a question I’d rather not answer.

~~~~~~~~~~~~~~~~~~~~~~~~~

Mark StevensMark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan.

Book three in the series, Trapline, will be published by Midnight Ink in November 2014

The RMFW Spotlight is on Saytchyn Maddux-Creech, Membership Chair

The first Monday of the month the RMFW Blog features one of the members of the board of directors or a volunteer. This month Saytchyn Maddux-Creech has agreed to answer our questions. We hope this helps members and potential members get acquainted with the incredible folks who keep Rocky Mountain Fiction Writers going and growing. And just in case these spotlights inspire other members to step forward and volunteer, feel free to email Judy Matheny, Volunteer Coordinator at volunteer@rmfw.org.

1. Saytchyn, tell us what you do for RMFW and why you are involved.

SaytchenI serve as the Membership Chair, which means I primarily help people who’ve forgotten their passwords to log onto the RMFW website. I also answer questions members and prospective members have about the group, troubleshoot membership-related issues, and try to recruit every writer I meet who isn’t already a member.

I’d long wanted to be more active with RMFW but didn’t think I could do much from Fort Collins. I’m grateful to Vicki Law for recommending me as Membership Chair to the board. It’s a job I can perform from home or anywhere I have Internet access.

2. What is your current WIP or most recent publication, and where can we buy a book, if available?

Most of my stories published in literary magazines are still online and may be accessed on the stories page of my terrible website. My latest stories, “Devildoms” (Dangerous Hedge) and “L’Hermitage” (Typehouse Literary Journal), will be published in January.

I’m making revisions on a dark fantasy/near-horror novel that won third place in The Sandy Writing Contest this year. I plan to finish by the end of November.

3. We’ve all heard of bucket lists — you know, those life-wish lists of experiences, dreams or goals we want to accomplish– what’s one of yours?

To write a great book, and then another, and then another…

Aside from writing, I want to earn a degree in either astrophysics or geophysics (or both!) and retire to a luxury cottage in Wales with a maze-like overgrown garden.

4. Most writers have an Achilles heel with their writing. Confess, what’s yours?

I began the writing life as an experimental writer. In the MFA program at Colorado State University, I allowed myself to be partially molded into a literary writer. Both of these styles got me into the habit of losing myself in a world and forgetting to tell the story. World-painting is wonderful, Saytchyn, but get to the story.

5. What do you love most about the writing life?

Writing. I’m happiest when writing. I get depressed when I take a few days off. When I’m writing, even if it’s not going fabulously, people can tell. I’m more pleasant. If I’m not writing, I’m agitated and crabby.

Also, Writers. I love to be with and talk to other writers. I love conferences, workshops, classes, and retreats. I am an introvert, generally, but not with other writers.

6. Now that you have a little writing experience, what advice would you go back and give yourself as a beginning writer?

I’d hesitate to try to persuade myself to change anything, for fear of ending up someplace terrible. But I would probably say, “Start putting in your 10,000 hours as a storyteller at the same time you start putting in 10,000 as a writer. Learn earlier that everyone has something to teach you.”

Saytchen_desk7. What does your desk look like? What item must be on your desk? Do you have any personal, fun items you keep on it?

I must have something to write with—a computer or a notebook and a pen. I have a lot of tokens on my desk—gifts from other writers and things that inspire me—and on the wall beside my desk is a map I drew of my story world. But I can write anywhere, and all I need is a computer or a notebook and a pen.

8. What book are you currently reading (or what was the last one you read)?

The last book I read was Dust and Light by Carol Berg. I loved it, and you can read my review on Goodreads. I’ve been reading friends’ manuscripts and have only recently started reading The Diviners by Libba Bray, but if the beginning is any indication, I think it will be bewitching.

I Hate Writing to Prompts, But Just This One Time….

By Patricia Stoltey

I hate writing to prompts.

And I’ve been writing short stories for years without much luck getting published.

So when I had an opportunity to submit to an anthology of retold folk tales, in a genre I never write, I almost passed up the chance.

Then my sense of adventure kicked in…not to mention the lure of ignoring my To Do List for a few days.

I chose the old Norwegian tale of Three Billy Goats Gruff. You know the one I mean? The goats want to get over the bridge but must outsmart the troll who lives underneath?

What if the goats had been humans? And the humans were young ladies, sisters in fact? And they lived on an island with their parents, a rich although minor Norwegian king and his queen. If the demanding parents kept their daughters away from the outside world by letting that old troll guard the only road to the mainland, what would happen when the sisters made up their minds to escape? Could the three work together to develop a plan as the billy goats did? Or, being humans, would something go terribly wrong?

And that’s how I came to write “Three Sisters of Ring Island,” published in Tales of Firelight and Shadow from Double Dragon ebooks. RMFW member Alexis Brooks de Vita is the anthology editor as well as a contributor.

Tales of Firelight and Shadow coverYou can see the full table of contents and prologue on the Double Dragon website. Here’s a little hint of what you’ll find in the anthology from the inside flap:

Tales in Firelight and Shadow is a collection of short stories by well-known and fresh new writers of fantasy, speculative and science fiction, retelling folktales from many lands and cultures. Award-winning authors present challenging new twists on familiar tales: James Morrow’s museum curator and his university professor daughter discover the ultimate answer to the human condition; Mary Turzillo’s talking cat rats on a legendary illusionist; and Tenea D. Johnson’s fairies deal with the dream dolls of nightmare.

Writers testing the speculative waters with their risk-taking styles captivate and enchant us: an adventurous young professional tries out a new eatery, with disastrous results; a haunted lake binds the horrors of the slaveholding past to the land’s future; a boy steals what a Scottish fairy has no intention of parting with. A lonely girl in a beachside shack yearns for a mermaid godmother’s gifts. Shadowy stalkers haunt forests and dreams.

Emerging novelists delight us with old tales never before told like this: Jason Parent’s Salem shyster outsmarts his own self; Patricia Stoltey’s ogre is not at all what—or who—we think; Christina St. Clair’s loving wife on the ultimate spiritual quest seems to have gone horribly astray; and A.J. Maguire’s scientist alone on the moon with her husband and the man she truly loves must come up with the courage to choose if and how she will survive. We discover that fairytales and urban legends are the stuff of personal memory.

The folktales gathered and retold in Tales in Firelight and Shadow answer the oldest of our questions: “Why is my world as it is, and how can I find my way through it?” For, if folktales exorcize the pain of lessons learned over many lifetimes, then in this world of fairy, flame and chaos, enchantment—we realize with a start—is the only reality. We dream so that we may open our eyes.

Have you had a good result by stepping out of your comfort zone and writing in a new form or genre? Tell us about it.

6 Best Marketing Tips for Authors

By Heather Webb

Heather WebbAll authors are looking for that magic marketing formula. How much money should we spend on ads? What should our websites look like? How much time should we spend on social media? How do we distinguish ourselves amidst all of the white noise? But these are the wrong questions. The best way to establish oneself as an author, to be an effective marketing guru, isn’t quantifiable. *rips out hair* So what should an author focus on for promotion?

CULTIVATE YOUR VOICE Be yourself, which is to say, be unique! Don’t try to rip off another author’s style. It will not only feel phony to you and your readers will see that you’re trying too hard. Don’t assume they can’t tell. Give them more credit than that. A quick point about online articles and interviews—they are more informal in voice. You don’t want to sound like a stiff or a nag, or you’ll bore your readers.

BE CREATIVE Start your own writing-related services, writer group, or hashtag. Set up a bookstand with your novels at a soccer match, purchase inexpensive paraphernalia with your cover on it or maybe your character’s names. Sell it on your website, distribute it at conferences. People like stuff! Make cupcakes with your book cover on them and bring them to the day job, the community center, or the library. You get the idea. Think outside of the box.

RESEARCH A writer’s research is never finished. Pay attention to what is selling in the book market. Listen to what readers want. Track the changes happening in the industry. How will this information affect your current platform? How can you change to incorporate new trends and more importantly, to reach MORE readers? Do your research, if not daily, weekly.

Webb_Rodins LoverENGAGE Reach out! Find ways to connect to different groups of people, both in person and online. Attend conferences, book fairs, and author signings. Volunteer at writing organizations. Cheer on your fellow writers in their quest to publication. Form relationships with people. When your agent tells you to get on Twitter, what they mean to say is, TALK TO PEOPLE. Make friends. Swap anecdotes, swap war stories, or craft ideas, or gardening tips. Anything! What you’re actually doing is forming your tribe. Your tribe will gladly help promote your works because THEY LIKE YOU. Because they’re your friends. And NOT because you spammed everyone with and reviews and quotes from your novels. (I’ve avoided more book buying by seeing people clip a really horrible line from their book and posting it on Twitter or Facebook.) (Be sure to follow the 80%–20% self-promotion rule here. More writers break this rule than not, and it’s REALLY annoying.)

FOCUS ON READERS While it’s true we should be involved in our writing organizations, it’s imperative that published authors, in particular, shift the focus of their efforts toward readers. We love to get caught up talking to other writers and industry pros and traveling to conferences, but other writers aren’t your target audience. Reach out to book clubs. Purchase ads in book club newsletters. Speak at your local library. Write articles on your blog that tie in with your novels, your platform, and interesting or fun or exciting information readers would like to see. Readers talk and share these morsels with others. Word of mouth is still the single most effective method of spreading the word about your books. Direct the bulk of your efforts to getting readers talking.

WRITE AMAZING, DROOL-WORTHY BOOKS The best way to gain more readers, to harness your success, is to write more books. The kind of books that send readers on a journey, that wrench open minds with a crow bar, that break hearts. Never stop working on your craft. It’s a skill and can only improve with practice, hard work, and time.

So get writing! And remember that being yourself and building relationships are the most effective marketing tools.

~~~~~~~~~~~~~~~~~~~~~~~~~

Heather Webb writes historical fiction for Penguin, including BECOMING JOSEPHINE and the forthcoming RODIN’S LOVER (Jan 2015). In addition, she is a freelance editor and contributor to award-winning sites WriterUnboxed.com and RomanceUniversity.org. When not writing, she kicks around a local college teaching craft and industry courses, flexes her foodie skills, or looks for excuses to head to the other side of the world.

Learn more about Heather and her books at her website and blog. She can also be found on Facebook, Twitter, and Goodreads.

Different Voices Create a Beautiful Blog

By Patricia Stoltey

I feel like someone pulled me through a knothole backwards.

I took a little time off last week and went to visit family in Illinois. And I went unplugged for five days. The five days was great. Now I’m suffering the consequences.

My To Do list is so long I’m as jumpy as a long-tailed cat in a room full of rocking chairs. I wake up in the middle of the night, thinking of something I forgot to add to the list.

Because I was out of town, the young lady who helps me keep the house from looking like a total disaster couldn’t come, so when my critique group met at my house last night, they had to wade through the clutter and pretend not to notice the dust.

Thank goodness they had no reason to look in my refrigerator or freezer. The ice cream has whiskers and there are unidentified things in containers and plastic bags that might have developed teeth and claws.

I’ve already read all that stuff from the time management gurus. They might as well try to teach me how to milk ducks.

Okay, so those colorful little phrases about knotholes, cats, whiskers, and ducks are not mine. They were swiped from my paternal grandmother who had a fun way of describing her world. That’s her voice, not mine.

That’s where I’m at today. Stealing words from my grandmother because we should have had a guest blogger in this slot.

Instead, you have me.

And that leads me to the point of this whole post.

The Rocky Mountain Fiction Writers blog has a team of regular contributors, each with his or her own point of view and unique voice. We also leave dates open each month so we can host RMFW members who want to make a guest appearance to talk about a pet topic, promote a new book, or share writing life experiences. It’s another way we can introduce members to each other (and to the world) between conferences and workshops. That variety of voices blends in a beautiful chorus that describes our organization and our writing lives better than any one writer could.

Starting in January 2015, we’ll have quite a few of those guest spots to fill (two in January and more in February and beyond). If you’d like to be a guest, contact me at patriciastoltey (at) yahoo.com or Julie Kazimer at jkazimer (at) msn.com.

Plan ahead, because we try to fill the calendar a month or two in advance.

You don’t want us feeling like that long-tailed cat in a room full of rocking chairs, do you?

Sexy Nurse? Sexy Librarian? Sexy Serial Killer? Yeah, Maybe Not that Last One. Who Will You Be?

By J.A. (Julie) Kazimer

I love Halloween. Who doesn’t? Free tooth decay and crazy people in and out of costumes. What more could you want?

Though I stopped (thanks to a restraining order) dressing up myself, my pups must suffer playing dress up. Yes, it’s mean. Yes, they hate it. And YES I love every minute of torturing them. That’s what they get for getting to sleep on the bed 365 days a year.

Since I became a published author (2010), I started using my main characters of whatever book I am writing as the pups’ costumes. My pups are Bodie (a Weimaraner who’s 12) and Killer (a small, short-legged mutt of something or other who just turned 3). This year’s theme is Little Boy Blue (which Bodie will be playing since he’s senior dog and gets the good roles) and The Tooth Fairy (poor Killer hates his wings and tutu. Thinks it’s emasculating. Go figure) I honor of The Fairyland Murders, releasing in December in case I haven’t mentioned it a time or two.

I’ll post photos on facebook as that’s part of the torture too.

In the meantime, check out some other literary Halloween animal fun!

See the photos by friending me on facebook!

The Perils of First Person

by Katriena Knights

Many beginning authors start their writing adventures with first person. To many beginners, it feels more natural, more immediate, and even easier. But writing in first person carries a number of stumbling blocks and dangers that aren’t as obvious in third person.

So what’s the big deal? Write in first person, and your reader will feel like they’re right in the middle of the action, right? In fact, this leads to the first peril of first person writing—keeping your protagonist in the middle of the action. Which isn’t always as easy as it might seem.

If you decide to write your story in first person, you can’t recount any events that happen while your protagonist is absent. This can cause all kinds of problems, especially with a more complex story. You should take this into account when you’re plotting your story, and be sure your main character participates fully in any major plot twists. In Twilight, Stephenie Meyer commits a major faux pas in this regard by having Bella fall unconscious during a critical moment of the story’s climax. It’s a really good way to lose your reader. Apparently this didn’t bother her jillions of readers, but it bugged the heck out of me.

Another question to ask is particularly important if you plan to write a series. Can you sustain a first-person narrative over the course of your series? This approach is common in the YA and Urban Fantasy genre, but keep it in mind as you’re constructing your initial plans and proposals.

In the Outlander series, Diana Gabaldon manages to make it through nearly two massive tomes without deviating from the POV of her main character, Claire Beauchamp-Randall-Fraser. But it’s not long before her story outgrows this POV, and Gabaldon starts dealing with the shortcomings of first person by using third person in various scenes. At first, she frames this as Jamie relating stories to Claire. But then she also needs to tell Bree and Roger’s story, and that’s when the first-person train goes completely off the rails. The bulk of Gabaldon’s epic series is told in alternating first and third person, with the only first-person sections being those told from Claire’s POV. I’m not saying it doesn’t work—it works very well in these books. But it’s a tricky thing to balance, and I wouldn’t necessarily recommend that approach.

Another fairly common approach to first-person narrative is to alternate the POV characters, telling each section from a first-person perspective. This can be an effective way to explore more than one character, but there are some pitfalls here, as well. Don’t try to use too many characters—your reader is likely to get confused about whose POV she’s in. Also, it’s very important to vary the narrative voice. I’ve read some alternating first-person POV stories where the voices of the characters were virtually identical, even though one was female and one was male. This made it very difficult for me to orient myself, since there were few proper names to let me know whose head I was in.

I’m not one of those readers who’ll flat-out refuse to read a book if it’s in first person—although they do exist—but like any reader I can be pulled out of a story if the technique falls short. So when you’re considering the structure and plot for your first-person story, think about addressing some of these possible problems so you can head them off at the pass.

(By the way, this post is brought to you by my laboring over my recent WIP, the sequel to Necromancing Nim, which is written in—you guessed it—first person.)