Tag Archives: writers

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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TOP TEN LIST: Things Overheard At A Book Release Party

By Kevin Paul Tracy

Caricature of David Letterman

Here is a list of the top ten things overheard at a book release party.

10. “My wife loves your books! Can you sign it to her: Roger Smith?”

9. “Is the author someone famous, or just a writer?”

8. “Yes, the author signed it, we couldn’t stop him. If you can find an unsigned copy, it’s worth an absolute fortune.” (A nod to the movie “Notting Hill”)

7. “I have the best idea for a book…maybe you could write it!”

6. “Wake up, honey, he’s done reading out loud.”

5. “You mean I have to pay for it?”

4. “I’ve written a book, too. It’s a 500 page memoir of my grandfather’s struggles with gout. I happened to bring it with me. Would you mind reading it and telling me what you think of it?”

3. “I always come to these things. You never know what’s going to turn out to be priceless…after the writer is dead.”

2. “I’ve heard of door prizes, but the book’s cover imprinted on a butane lighter? Doesn’t bode well for the book itself.”

And the #1 thing overheard at a book signing party:

1. “Is this the line for the restroom?”


Check out Kevin’s latest releases, the wonderfully entertaining espionage thriller, “Rogue Agenda” and a startling and engrossing gothic thriller “Bloodflow.”

Follow Kevin at:
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Write Only the Interesting Parts

By Kevin Paul Tracy

There is a joke which has been apocryphally attributed to various famous sculptors:

Bird Sculpture

HOW TO SCULPT A BIRD: Chisel away all the parts that do not look like a bird.

    As a joke this is worth a chuckle. As a fundamental truth about sculpting it leaves something to be desired. For example, I would submit that a sculpture of a bird, alone, is interesting only insofar as I am curious about the physiognomy, the outward appearance, of a bird. But what if I want to know more: Where does he live? On what does he feed? What are his interests, his passions, his pursuits? A sculpture of a bird alone does not tell me any of this, and is therefore of only passing interest to me.

There are those who will tell you, in regards to writing, to chisel away all those parts of your story that do not directly relate to your plot. Like most such rigid axioms about writing you are going to have to develop an instinct for when to break it before you become fully ready to publish. A novel about its plot and nothing but its plot is a very stiff, mechanical, utilitarian thing and while perhaps entertaining to read, isn’t very enriching or memorable.

If I were to rewrite the joke above to pertain to writing, I would put it:

HOW TO WRITE A NOVEL: Think of a story, then write down only the interesting parts.

Rather less like a joke, still it says what I want to say. Sometimes, some of the most interesting parts of a story do not necessarily relate directly to its plot. For example, in Jurassic Park, one of the most fascinating parts of the story is how Dr. Grant, a man with no experience of and no real interest in children, is forced to not only interact with, but to protect and even to comfort two young children during the course of the story’s events. Some refer to these as subplots, so be it. These are the things that enrich a story and make it memorable.

Go ahead, don’t be shy, say it: “But some of the most interesting things about my plot happen off-stage, out of sight or knowledge of the protagonist. How can I relate these parts of the story without violating the “One-and-Only-One-POV” rule?” The rule that says you must only portray the point of view of a single character in your novel, period. The answer is simple: violate the single-POV rule! But learn how to do it well and to good effect. For example, “head-hopping” is jumping from one character’s POV to another in a single scene. To a large extent this is not a good time to break the rule. One POV per scene still, by and large, holds true, though I have read some rather effective tales in which a scene is told more than once, each time from a different character’s POV. Still, as a rule, only shift from one POV to the next between scenes, or at least between narrative breaks.

Also, even if you shift from one POV to the next between scenes, still try to keep the number of POV’s in a single novel to a close few. We don’t need to know what every character thinks about every situation. Remember, we are writing only the most interesting parts of our story, and we are only shifting POV to provide a means to do so. Anything else is chiseled away.

Next, remember that subplots are like any other plot, they need to go through the same stages: the inciting incident, the complicating factors, the black moment, and the denouement. Even though a subplot is, by definition, less critical than the main plot, if it is left unresolved by the end of your novel it is a loose end, and bad form. So be sure to bring your subplots along on a pace with the main plot and resolve them at some point prior to the resolution of the main plot.

Remember, all of this is in service to writing only the most interesting parts of your story. If at any point you find yourself bored with what you’re writing, it’s a good bet your readers will be bored as well. Chisel it away!


Check out Kevin’s latest releases, the wonderfully entertaining espionage thriller, “Rogue Agenda” and a startling and engrossing gothic thriller “Bloodflow.”

Follow Kevin at:
  Kevin's Amazon Kevin's Blog

Oh, the People You’ll Meet

By J.A. (Julie) Kazimer

It’s conference time. In less than two weeks I’ll be joining a mess of fellow RMFW writers for the annual Colorado Gold Conference. Over the next week, you’ll get plenty of conference tips and how-to’s on this blog. Read them. Learn from others mistakes and triumphs. And most of all have a great time.

Today’s blog isn’t about conference going, but rather about the people you’ll meet along your publishing journey. The first conference I went to was in 2007. At these things you’ll meet plenty of other writers in very similar circumstances and places in their journey to publication. A bonus hardly anyone thinks about when faced with big-time agents and editors and the possibility of publication.

Don’t make the same mistake.

Yes, it is exciting and terrifying to meet with the gatekeepers who might hold your fate in their manicured hands. But these aren’t the most important people at a conference. Your fellow writers are. These are the people who will support your career in its various forms. These are the people who will provide reviews, blurbs, advice, and buy your books. These are the people you can call at 2am when you’re trapped in a scene or realized you killed off the wrong character 20 chapters ago.

In my 7 years attending RMFW’s conference, I’ve come to know a lot of my fellow writers. Some with publishing deals that make me want to stab them with my desert fork (which is why the hotel often serves desert with a spoon) and others just starting out who think I’m cool because my books are in print (these one’s quickly realize their mistake, but I usually have them captured by spoon point by then).

Over the years I’ve been lucky enough to see the people I started out with (in roughly the same place in our journeys) achieved great things. I look forward to hearing their stories or knowing, if you try hard enough and don’t give up, you can be a working writer.

To those of you attending your first conference, welcome. And please make sure to stop me and say hello. I want to know your story. I want to feel your excitement. I want to suck it from your bone marrow like a vampire (which is the best way to stay in the industry).

For those of you who I’ve met before, thank you for sharing your stories, and being a part of what makes the CO Gold Conference fun.

Looking forward to seeing everyone!

If you have a moment, please friend me on facebook or visit my website at www.jakazimer.com.

Making a Big Deal Out of It

As writers, we spend a lot of time beating ourselves up. That story wasn’t good enough, we didn’t finish it on time, it didn’t sell to our market of choice, it got a bad review, I’m just not happy with it… etc. etc. Too often, we forget what a monumental undertaking writing is in the first place. How many people say they’re going to write a book and never even set hands to keyboard? How many people get started but don’t stick with it? I propose that today, at the start of the Christmas season, we start thinking about how to reward ourselves for our accomplishments instead of letting them fall away in the stew of self-criticism and all the pressure we put on ourselves.

There are many different ways to do this, of course. Hang the reward out there as a carrot or just promise yourself you’ll do something special when you meet that next milestone. For a long time, I bought a print from my favorite musician/photographer whenever I finished a manuscript. (When I ran out of wall space, though, I had to try something different.) I’ve also been known to give myself a day off just to read, watch TV or knit when I finish a project.

A few years ago, I started a charm bracelet. It’s one of those Chamilia bracelets, where you buy the bracelet and then string beads on it as you purchase them. I got the idea when my daughter got a similar bracelet, and now I buy a bead to commemorate book contracts and completed book series. The first bead I bought was a Bestseller bead for my book Where There’s a Will, which was on the Kindle bestseller list. Then I got beads for some of my past books—a Celtic-style bead for The Haunting of Rory Campbell, a black, night-sky-type bead for my Dark Callings series, and a glass bead in ocean colors for my Mara’s Men series. Recently I picked up a bead with crossed hockey sticks to commemorate the sale of Blood on the Ice, and a round bead with embedded stones for Necromancing Nim. I’ve got a pretty good string of beads going, but there’s still room for more before I run out of room on my bracelet.

These beads aren’t exactly cheap. This makes me try to talk myself out of them on a regular basis. But finishing a book is a big accomplishment, and selling it is even more so. So I promise myself a bead for major sales, or for the completion of a three-book series, or for other milestones beyond simply completing a manuscript. It makes me feel good, and when I wear the bracelet, when people ask about it I can revisit the warm fuzzies I’ve gotten from writing and selling these books.

These ideas might not be for you, but I think we as authors need to acknowledge our own awesomeness on a more regular basis. We spend far too much time locked up in our offices churning out words and then telling ourselves we didn’t churn out enough words, or didn’t commit the right words to paper. We need to pat ourselves on the back. We really need to make a big deal out of it.

So think about that this Christmas. If you don’t already have a commemorative system in place, think about something that might work for you, and then treat yourself.

(Beads from top to bottom: Necromancing Nim, Blood on the Ice, Beautiful Music, Puck You, Vampire Apocalypse, Ring of Darkness, Crimson Star, Mom bead (a mother’s day present), Dark Callings, Where There’s a Will, Mara’s Men, Haunting of Rory Campbell).

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Katriena Knights wrote her first poem with she was three years old and had to dictate it to her mother under the bathroom door (her timing has never been very good). Now she’s the author of several paranormal and contemporary romances. She grew up in a miniscule town in Illinois, and now lives in a miniscule town in Colorado with her two children and a variety of pets. For more about Katriena, visit her website and blog