Writing a novel (or any book) can be an exciting experience. And a daunting one. Whether your manuscript starts out as just a small idea that eventually evolves into a book, or whether it’s laid out from day one as an epic series, there is both logic and emotion involved. Balance must be maintained between creativity and quality in order to achieve your end goal.
Under Construction was built using my own diverse writing experiences while creating novels, short stories, children’s books and more. In it, I share my perspectives on the emotional and technical aspects of creating a book. While focusing mainly on writing fiction, many of the topics I cover can also be applied to other genres. Under Construction was written in the hopes of encouraging other writers who are just beginning their own adventures.
I’ve offered most of the guide’s content here (without book formatting or illustrations). If you’re interested in the complete book, it includes several additional chapters (noted in the table of contents below) as well as original inspirational quotes about writing. To purchase Under Construction, click here. Or, you can also purchase the PDF eBook version by clicking here.
Under Construction
Practical Insights for Novel Writing
Click on a topic heading below to read.
Preface
Fundamentals
Passion
Commitment
Quality
Perfection
Flexibility
Life
The Basics
Uniqueness
Conflict
Suspense
Beginning, Middle and End
Subplots
Strategy
Length
Characters
Names
Number of Main Characters
Backgrounds
Preferences
Dialogue
He Said, She Said
Using Names in Conversation
Using Names Around Conversation
How is it said?
Realistic Wording
Extra Details
Uninterrupted Conversation
Setting the Stage
Character Descriptions
Scenery Descriptions
Word Choice (Printed book and eBook only)
Consistency
Big and Little
Know Your Location
Know Your Characters
The End…Or is it?
Timing
Circumstances
Writer’s Block
Triumph
Emotional Attachment (Printed book and eBook only)
Criticism
Rejection
Separation
Now What? (Printed book and eBook only)
Publishers
Make Connections
Conclusion
Oh, by the way… (Printed book and eBook only)
My Moment – a short story
How I Became a Writer
A Writer’s World – a brief article
Preface
When I first started writing, I had no direction. I wasn’t sure how to put a book together, and when I did search for answers, I usually just became more confused. Much of the time, I ended up with information that didn’t apply to my projects, or that which was so in-depth, I couldn’t even understand it. I had a hard time relating to other writers, let alone fitting into a world of publishing and marketing. Eventually, I did make it, and with more knowledge than I’d planned on learning.
Figuring things out the hard way wasn’t all bad. But as I discover more and more aspiring writers who are in the same position I was when starting out, the more I want to help.
So let’s face it. There are a million and one other self-help books out there about writing. There are a million and one websites, thousands of forums and online clubs, and more tips, tricks and how-to virtual pamphlets than anyone could ever possibly read, let alone comprehend and apply. In the end, all you really wanted to know was how to write the book that’s now become such a chore, you’re thinking about not even finishing it. But it would be a shame to waste that dream. All you may need is a bit of direction and encouragement.
If you need to go back and review the essentials of writing (spelling, grammar, etc.) before moving on, then by all means, do so. Those are things this book does not cover, and I’d never tell you not to use any other resources. I just want to share some ideas that have developed through my own writing journey. I’m simply another writer – like you – which is why I can relate to your desire to create a well-written manuscript. I’ve been there, and I want to help…my way. What I have to share are things I’ve learned during years of writing novels, newspaper articles, short stories, poems, children’s books, devotionals and more. And as scary as it sounds, these pages will give you a glimpse into how I think.
Within this book, I reveal no hard-fast rules. The information is just what I’ve collected and put on paper in a way that makes sense to me – and hopefully you. The suggestions I give may or may not suit your style of writing. If not, that is your freedom as a writer. You are still the author of your book, not me. I do hope, though, that the subjects I cover will help you make your book the best it can be. And while I focus mainly on writing novels, many of these principles may be applied to any genre.
If you’d like to read something else I’ve written and see what my style is like before actually using this book, then by all means, go find one of my novels and check it out. I won’t turn down another $1.23 royalty check. But when you’re done reading, get back here. I’m not done with you yet.
I cover a range of topics from dialogue, to character names, to emotional issues. Even so, all chapters combined still only represent the tip of the iceberg when it comes to writing a book. But sometimes the very tip is just the starting point we need.
As a writer, I constantly have at least one book (if not two or three) Under Construction. And every time I start to build, I use the practical insights I now share in these pages.
Fundamentals
I have a belief that a certain set of fundamentals can help create a masterpiece. You can write a book without them. But why write something mediocre? Why not shoot for your very best?
I want to share my views on passion, commitment, quality, perfection, flexibility and life. Afterward, I will express thoughts on a few more technical aspects of writing. But the following list of fundamentals may be more important than any other section in this book.
Passion
With passion, a masterpiece can be created by using the right combination of ingredients to leave readers wanting more. Without it, words contain an emptiness that can make readers feel as though they’ve been chewing on a packing peanut instead of the sweet cookie they expected.
If you don’t have a passion for your manuscript, why are you writing it? I don’t mean the simple reasons, such as your aunt told you that you should, or that you just thought it would be fun, or that your mother thought what you wrote was too cute not to publish. I mean, why are you writing it? Do you love the topic? Does your manuscript incorporate your knowledge on certain subjects about which you care and are enthusiastic? Do your words express information you have a deep desire to share? Even fiction can contain such passion.
Figuring out why I was writing helped me decide if I really wanted to pursue my novel until the end. I had to ask myself if it was worth my time and effort. I had to decide if it was worth the challenge.
I told someone once that, to me, writing was like breathing. It wasn’t that it was something I was forced to do, whether I wanted to or not. Rather, it was that I knew without writing, I would feel as though I was suffocating. Does one need this emotional attachment to be a good writer? No. Do I think this emotional attachment can boost the quality of manuscripts? Yes. It did mine.
If you would have asked me, as an amateur writer, if I was passionate about my writing, I probably would have said no. It was fun. A hobby. But I had the luxury of being able to dabble without fully committing myself. Now a published author, I become more and more passionate every day, and I have realized that with that passion comes power – the power to manipulate words and take readers into the worlds I create just for them.
Commitment
How much dedication is required to accomplish a worthy novel? How much time must be put into it? How much effort?
If I pick up a book off the shelf, I expect to read something the writer cared enough about to do a decent job. I expect to find that the writer put a lot of time and effort into what was written. Are all books like that? Certainly not! There are thousands of books out there that have been created haphazardly and draw readers just because of who wrote them. Those authors may have found fame and fortune, but I really don’t want to write a piece of drivel that people are simply told they should love. I want to write to the best of my ability and put forth the masterpiece that’s waiting at the tip of my pencil.
Writing a book takes a lot of time, whether it’s one straight month of doing nothing other than writing, or whether it’s ten years, squeezing in time to write amidst family, full-time jobs and more. How much do you want to invest in your book? Is it worth it to you?
One thing people often misunderstand about commitment to a book is that it doesn’t mean they have to focus on it 24/7. I’d love to be able to focus that much on the novel I’m working on now. But I find myself caught up in the necessary things of life. Does that mean I’m not committed? Not at all. If I set my manuscript down and didn’t pick it back up again, that would prove dedication was not present. If I gave up, that would be the ultimate sign I was never committed in the first place.
If you are passionate, if you are committed, do not give up. It may take you twenty years to finish your book. But as long as you are not allowing your words to sit in the corner and collect dust, keep going. Do your best.
Quality
A writer can have all the passion and commitment in the world and still produce something that’s of low quality. That probably means the essentials of writing have not been covered. What does it take to create quality in a manuscript? Time and effort to learn the rules. What I have discovered is this: One must first learn the rules of writing so that after mastering them, it will be discovered when and how to break them. This guide isn’t about the rules, though. It’s about taking the spelling and grammar that has already been learned in school and shaping words just the right way to create the desired outcome.
I can pick up a piece of writing that is filled with passion - something to which the writer committed every waking hour. But if it’s riddled with spelling and grammar mistakes, I’m probably not going to finish reading it. The writer obviously had good intensions, but they didn’t take time to incorporate the necessary rules of writing – or they never learned them, which would be unfortunate.
Part of being committed to your writing is knowing you can’t just sit down and spill out the words onto a sheet of paper, expecting them to fall into the right places so other people can understand them, too. Does your manuscript contain sentences that aren’t really sentences? Incorrect verb tenses? Misspellings? Punctuation errors? Of course, there are other things to look for as well, but these are some of the most obvious mistakes that jump out at seasoned readers. While I don’t cover those specifics here, remember proofing your work is extremely important when considering quality.
Even if the basics of grammar and spelling have been mastered, I want to emphasize the value of utilizing someone else who can proof or edit your work. No matter how skilled you are, no matter how many times you read your manuscript, there will be things you miss. The last thing you want to do is send a book full of typos to a publisher. Do not rely solely on your computer’s spell check or your own eyes. Even if you have to pay someone to proof your work, it’s worth it in the long run.
Perfection
No one’s manuscript will ever be perfect. Ever. Trust me, I know. There is no earthly thing that is perfect, no matter how much a writer’s grandmother loves what they wrote. Good? Yes. Great? Maybe. Fantastic? Could be! Loved by an audience of millions? Who knows? But perfect? No.
Perfection is something that can never be reached completely, yet it should still be a goal. Aiming for perfection can help improve writing skills by leaps and bounds. It creates a willingness to learn. But the thing that must be remembered in order to maintain sanity is that even though perfection will never truly be attained, that’s okay.
When you finally have that book in hand, showing the world you’re truly an author, I guarantee if you flip through those pages, you will find at least one thing you wish you would have changed. It may be a typo. It may be something you now think should be worded differently. At first, you may experience a twinge of regret or disappointment. But don’t be too hard on yourself. Do not let this keep you from writing more, or from trying to improve. Failing to reach perfection only provides more room to grow. If you find any mistakes in this book, I did it on purpose so I’d still have room for improvement. (And if you believe that, you’re my favorite fan.)
Do not let perfection rule you. Do not balk at sending your manuscript to a publisher because it isn’t without blemish. It never will be. So send it in. If you can continue improving on your work, do so. But always, always find a point where you can be satisfied saying, “It is finished.” Even if it’s a manuscript you set down for ten years then pick up again and rewrite, remember to end the process. If you never end it, it will never get into the hands of readers.
Aiming for perfection is a must. And lack of perfection must not be a hindrance.
Flexibility
Sometimes when starting a new novel, I’ve got it all planned out. I know exactly who my characters are, what they’re going to do, how my story will play out, and how the ending will happen. If it works out that way, I’m thrilled. But sometimes it doesn’t.
Before I really started getting into writing, I thought one of the strangest things was when another writer said one of their characters surprised them, or one of their scenes turned out differently than they planned, or even the outcome of a situation was different than they had anticipated. I honestly thought they were crazy. Then I started writing novels. And…I guess I’m crazy now, too.
An important thing I’ve learned about writing fiction is that the writer has to remain flexible. As strange as it sounds, a character or plot can have a mind of its own and can turn out differently than planned. When this happens, don’t fight it. You might look at it, think on it overnight, then want to change it the next day. That’s fine! But at least give it a chance.
At the same time, don’t be afraid to rewrite anything you’ve written. If something just doesn’t feel right, or you get to the end of a scene and you don’t like it, don’t be afraid to change it, tweak it or scrap the whole thing. But remember, if you do scrap it, don’t burn it up so you can’t ever read it again. Save it – you might need it later.
Let the story evolve. Let the story tell itself. Be flexible.
Life
So now there’s a passionate, committed, and grammatically clean manuscript. Beautiful! Now comes the fun part: creating life.
God breathed into Adam and gave him life. If I could take a deep breath and blow air on my pages to create life, that would be awesome. But you and I both know it doesn’t quite work that way. (If you don’t know this, I suggest seeking professional help before continuing on this particular journey.)
Life is created through the crafting of just the right words in just the right places to pull the reader into a whole new world without them realizing it. Life is the essence of any good novel, creating a real setting that stretches the reader’s imagination and leads them to becoming a friend (or enemy) of the characters.
Up next, I want to demonstrate some key areas in which richer life can be created. Succeeding at writing with precision can result in a much more pleasing manuscript, smooth and interesting enough to hold its readers.
The Basics
Now comes the fun part. It’s time to study what’s being written, and decide the best angles and developments to pursue.
While this next section does not cover all technical aspects of writing by any means, it does offer some valuable pointers. Pointers I’ve developed along the way through trial and error, and which also make the most sense to me.
These are the basics. These are suggestions for shaping and molding a manuscript into a work that people will want to read and will find exciting to read. Don’t be afraid to be different. Don’t be afraid to be unique. You need those qualities if you’re going to catch the eyes of your readers.
Uniqueness
So, you’ve got a great idea for a book. You can see the whole thing in your head and the plot is already all laid out. Fantastic. Where did you get the idea?
As the wise King Solomon so appropriately explained, there is nothing new under the sun. Most likely, the idea for your book came from somewhere other than thin air. And even air isn’t new.
That said, it is very important for you to bring a unique flavor to your plot. What is different about your story? What will grab a reader’s attention? When someone picks up your book off the shelf and reads the synopsis on the back cover, what will convince them it’s worth the read?
Try to be unique. The plot itself may seem like a familiar one, but throw in an unexpected twist. Decide whether the main character is male or female. Pick a surprising location, an odd quirk in a character, or anything else that will help your story be different than all the other ones people have read.
In the end, you will be so familiar with your book that you may not be able to tell whether it’s unique or not. This is a good time for someone else to look at it and help you recognize if it’s a predictable plot or if you’ve hit on something special.
Conflict
Conflict is my very favorite part of any story. What needs to be fixed? What two characters aren’t getting along? What goal needs to be accomplished? What hurdles need to be overcome? The conflict is where most of my own novels have been born.
Establishing a strong and believable conflict will only help draw a reader in. If written well, the reader will have to find out how things are resolved in the end.
Be creative. In the same way your plot should contain uniqueness, your conflict should be one that catches a reader’s eye. Make the reader ask questions. Why? Who? How? This creates an underlying mystery of what will happen next, even if the novel you’re writing isn’t a mystery by genre.
Two brothers are fighting. Will they resolve their issues? Mary can’t seem to get over her mother’s death. Will she ever learn to let go? A father and son have fought for years, then the father dies. Will the son be able to work through his mixed feelings of guilt and sadness? A woman is trying to start over but she meets obstacles at every turn. Will she learn to survive on her own?
In order to write a substantial plot, you need to have conflict. Something needs to be wrong that will be fixed by the end of the book. Otherwise, what’s the point in reading?
Suspense
When people hear “suspense” in relation to a novel, they may first think of a mystery. However, the element of suspense should be included in almost any story in order to keep the reader interested. While sometimes difficult to implement, it’s worth the effort, and it’s a skill even I am still honing.
Think about your main plot. What kind of secrets might there be? What are you going to wait to reveal at the end? More than likely, you already have the basis for suspense. Now what you need to do is tease the reader throughout the pages. You might lead them in one direction totally opposite of the truth for an ending that will completely surprise them. Or you might help them figure out what’s really going to happen before it does, so by the time they get there, they are proud of themselves for knowing the answers.
Suspense can be as dramatic as a car chase with bullets whizzing by, or as mellow as what kind of present Grandma bought for Billy. Anything that causes the reader to turn the page for answers is suspense. You can have short scenes with suspense like the car chase. Most likely your whole book is not just one car chase, so your reader will know within a chapter or two if the pursued have been caught, and they can relax until the next suspenseful scene. You can also have suspense that will last until the very end of the book. Is Michael ever going to ask Liz to marry him? They were set up from page one, but he might not pop the question until the last page.
Dropping hints can sometimes be difficult. You don’t want to reveal too much information to give away the secret, but you want to give just enough to keep the reader wondering. If there was a magic formula for this, I would share it. Unfortunately it all depends on what your plot is and what your own plans are for the outcome. Take a look at one of your favorite books. How does the writer use suspense to grab your interest?
Use suspense, whether intense or mild. It’s an important part of creating an intriguing plot.
Beginning, Middle and End
The idea of framework in a novel probably isn’t new to you. Creating a beginning, middle and end of a story has most likely already been taught to you in school. But whether it has or not, this is how I understand it.
In a novel, the plot should contain natural rises, falls and plateaus. A buildup to the end is necessary to keep the reader needing to find out what happens next. But if there are no triumphs in between, disappointment can occur. For example, if the book is about a war, the ultimate win will probably be saved for the end. But in between, the main character may overcome personal hurdles. He might fall in love. He might be imprisoned and need to be rescued. Without those smaller triumphs, it may seem like it takes forever to finally reach the end.
While starting your novel, you should establish at least one of the main goals for the storyline. The reader will need some kind of idea what to look forward to and some hints as to what will happen. They need to get excited and meet the characters so they can be enthusiastic about reaching the end. As the writer, you can establish the plotline early on, so the reader knows what they’re getting into.
Somewhere in the middle, there should be a shift. Maybe it’s a breaking point. Maybe it’s a stressful situation. Maybe it’s a success. Maybe it’s the revealing of some important information the reader didn’t have before. No matter which scenario you use, pull your reader into the middle, teasing them with a taste of the end, but not yet giving it to them. Make the middle interesting. Make it exciting enough that by the time the reader reaches it, they still want to keep reading. This may take solving one of your subplots, renewing the reader’s hope for an ending. It may take resolving one of the lesser conflicts, reminding the reader to focus on the main plot – the more exciting one – again.
Once you reach the final chapter(s), be sure to satisfy your reader. Sometimes readers are left hanging to either leave the rest to their imagination or to lead them into a sequel – both of which can be purposeful tactics. But there has to be some kind of closure somewhere, even if the ending is a cliffhanger. The reader has stayed with you throughout the whole book and will be extremely disappointed if they’ve given you all that time just to be left wanting. What would you want to read at the end? Pamper the reader with an ending they’ll enjoy, even if you do have a sequel in mind.
Subplots
Subplots can be scary. While considering the main plot of a novel, subplots shouldn’t be distracting, nor should too much time be spent on the less important points. But in the end, subplots can be very beneficial in building an interesting story.
Perhaps a manuscript contains two travelers who need to make it from point A to point B. That is the main plot. If that were it, the book might turn out to be a bit shallow. What happens in between? Where does the conflict come in? Where does the middle of the book lead the reader?
Subplots might involve romance. The loss of a loved one. A battle. The search for a lost puppy. All of these can take place while the main plot remains strong – getting from point A to point B. Subplots help keep the story interesting.
You don’t want to overwhelm your reader with subplots, of course. Do your best not to make a subplot more complex or more important than the main plot itself. This can confuse readers and leave them wondering where they’re supposed to concentrate. But incorporating a few strong subplots will help boost interest and develop room for characters to grow and move around. And who knows…one of those subplots might be where a surprise takes place. You might find answers to secrets you didn’t even know were there.
Strategy
Even if an entire book has been thought through, it’s not a bad idea to jot down or type the plot and/or other details for future reference. If you’re the kind of person who easily remembers details, maybe it’s not all that necessary for you. But if you’re scatterbrained like me, you might want to make notes about plots, subplots, locations and characters in order to keep it all straight. At the very least, making some quick notes for reference can’t hurt, and it may even help.
Writing down your plot can be done many different ways. You can easily look up information about different methods to lay out your book before you begin writing. You just need to find a method that best suits you and your personality, even if it’s completely different than what other writers do. Whatever works for you is right.
Some people take a large piece of paper and draw circles for each significant plot point, connecting each one with lines. Eventually, it becomes a mass of connected “bubbles” that can be a great visual for remembering how everything in the book is connected and where the plot is headed.
There is writing software available that helps lay out chapters and plots, and may even help keep track of individual characters. This database-style system can work well if you have a lot of little details you need to keep track of but don’t want to write it all out or try to fit it all into circles on paper. It’s also great if you have an ultra-organized personality.
My favorite method is using sticky notes. I write down brief descriptions of scenes, one or two per note, and line them up on my wall. In the end, it’s my entire story from beginning to end. I like the visual, and I like having tangible notes I can move around, take off and add to, helping me stay on track. As far as details like characters and location goes, sometimes I keep a notebook or type it into my computer as a quick reference. Each time I write a new book, I approach it a little differently.
It’s totally up to you how you go about setting up your book. But having some kind of idea or layout to begin with is a good way to stay focused.
Length
How long should a novel be? How about chapter length? There’s no short answer (no pun intended).
I have researched what most people consider to be a novel-length book, and I find it’s safest if the goal is to have no less than 50,000 words. Many publishers may prefer upwards of 90,000 to 150,000 words. A shorter book, less than 50,000 words may be considered a novella. There is certainly a market for shorter books, just be careful about who your audience is and what genre you’ve chosen. While a short book may be easier to write, many readers might be disappointed if they can zip right through it in a couple hours. On the other hand, you may not want a book that readers will put down after the first 256,328 words because it’s taking too long.
Find books of the same genre you’re writing, and take a look at their length. Count the words on a full page and multiply by how many pages are in the book. That will give you a rough estimate of how long the book is. That doesn’t mean your book should be the same, but it can at least be a starting point for you. Be aware that once your novel is complete, if looking for a publisher, some do want specific lengths.
Length of chapters is even looser than the length of your novel itself. I have read books with very long chapters. Others have had short chapters. Some books use both extremes. Again, pull one of your favorite books off the shelf and see how long the average chapter is, just for a rough idea. Personally, I gauge chapters by the scenes themselves. I don’t worry much about word count, but I break off chapters where it feels most appropriate. I try to avoid extremely long or short chapters, but I’m not adverse to them if it feels right in the story.
While it’s good to consider word count when starting out, always keep in mind that you simply need to tell the story in however many words it takes. You don’t want to add useless details just to expand your word count, but you don’t want to delete important information to make it shorter either. You may set out to write a short story and come up with a novel. You may set out to write a novel and come up with a novella instead. It’s still your story and there is still a market for it somewhere, no matter the length.
Characters
Who are your characters? What are their personality traits? How easily can a reader fall in love with them or relate to them? Or hate them? Are they real? Do they seem too fake? What makes a strong character?
Developing strong characters is a major part of developing a strong plot. I’ve seen movies with fantastic acting and shallow plots. But I enjoyed them anyway because I learned to love the characters. That’s what you need to do in your book. Having strong characters does not give you an excuse to have a shallow plot, but it will only prove to support the story line.
Names
One of the biggest challenges is coming up with the right names for fictional characters. I have found just a few things that can at least provide assistance.
First, be sure to know your character’s ethnic background. This may or may not contribute to their name. Think about the character’s personality. Think about their age. It may be rare to see a six-year-old named Henrietta if the story takes place in the year 2006. If your character is adventurous and outgoing, Herman may seem a little mellow for that personality.
Another thing to remember is your audience. If you choose names that are African and your audience is from Africa, you shouldn’t have much trouble. But if completely unfamiliar names are in your book, you may frustrate your reader. This would especially be true if there’s a chance your book will be read aloud. How do they pronounce the names?
The names of your characters probably won’t make or break your book. Even so, while you want to maintain uniqueness and make your characters memorable, they also need to be easy enough for your readers.
How do you find names? Everyone has different methods. Some people stare at the alphabet until a name comes to mind. Some people ask other writers, friends or family for ideas. Some might think about all the people they know and take names from there. Some writers look on Internet sites that list popular baby names. Me? I use all of the above at some point or another.
Whether the names come easily or not, consider if they fit. You’ll know if they do. And after all…they’re your characters.
Number of Main Characters
There is no right or wrong number when it comes to how many main characters there should be in a book. It all depends on what the plot is like and how many characters are needed to bring about the story.
Personally, I usually write with two or three main characters. Those are the characters whose thoughts and feelings are revealed in the story along with their actions. Those are the characters who have conflicts that need to be resolved. That small number, though, is simply my personal preference.
I have read many books where there are more main characters than that. Or some plots have only one main character. In your own book, it’s your quality of writing that will determine how well you’ve pulled off the number of main characters. If you have one or two main characters, it will be fairly easy to concentrate on them. If you have a dozen main characters, you will need to establish them all well and be sure the reader can distinguish between them and follow them individually, too. The last thing you want to do is overwhelm your reader with names and faces they struggle to remember.
However many characters you need in your book, just be sure to write it so your reader will know them well. That way, if they put down the book for a week and come back, they will remember who is who.
Backgrounds
Where do characters come from? What makes them tick? Why does fighting upset them? Why do they like country music? Why would they rather be by themselves than in a group? Why are they afraid of dogs?
While developing characters, it’s very important to know their backgrounds. Some information may never actually be used. Half the details might never enter your manuscript. But if you know your characters as well as you know yourself, it will make writing about them much easier and, in the end, more believable to your readers.
Think about where your characters come from. What kinds of families were they raised in? Are they from another state? Country? Have they been through a war? Have they suffered any kinds of accidents? If they have experienced any kind of traumatic events and there is no hint of consequences, they may not seem quite as real.
Develop backgrounds. It will help create a more realistic setting for your characters.
Preferences
After character names and backgrounds have been established, what about the rest of their characteristics? You might have a good grasp on their personalities, so how do preferences tie in?
Just like with backgrounds, it’s a great idea to figure out what your characters like and don’t like. Make them unique. Be creative. Maybe John likes pickles on his peanut butter toast. Wendy might always wear something pink. Maybe Bernard prefers Ford trucks. Like backgrounds, these little details may or may not ever be mentioned in your manuscript. That’s okay, though. It was not a waste of your time.
Figuring out your characters’ preferences is simply one more step in getting to know them, and in turn, allowing your readers to get to know them, too. Learning Annie’s quirks might not only help develop her personality, but it might give you something cute to add to a scene.
Deciding characters’ personalities is something only their writer can do. Like real people, they should all be different. Make yours unique. Get to know your characters through and through. Not only will it add to your story, but it should be fun, too.
Dialogue
One area that can be troublesome is dialogue. Sometimes it’s very difficult to set the right tone in the middle of a heated conversation or a casual chat over coffee. What words should be used? How do you set the scene and not wind up with a setting that has no feeling? Remember that even if a scene is grammatically correct, that doesn’t mean it’s smooth or realistic.
On the next few pages, I will develop a short scene between two children. All I want to do is show a few practical ways to improve the scene, step by step. By the time I reach the last example, the finished product should read much differently.
He Said, She Said
Yes, they did say it. But your reader might not need to be told the exact same way again…and a third time…
As I reread my very first book, I realized I had fallen into this dialogue trap. I didn’t recognize it until I had read a couple of my favorite novels by other authors and compared what they did to what I had done. Once I took the time to look, I could really see the difference.
Here is my own take on the subject.
Example 1
“I want cookies for breakfast,” Bobby said.
Susie answered, “But Mom said no.”
Bobby said, “I just want one, Susie.” He stood on a stool.
Susie frowned. “You will get into trouble, Bobby,” she said.
“I will not,” answered Bobby. He reached for a cookie and fell.
“I told you, Bobby!” Susie yelled. “I am going to call Mom!”
Six lines, and I’ve used “said” three times. Why is it a problem? Only because it is repetitive and relatively uncreative. Sometimes, simply eliminating those words altogether can solve the issue. Sometimes, it takes mixing things up a bit for a smoother read, and/or using different words instead of “said.”
Example 2
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one, Susie.” Bobby stood on a stool.
Susie frowned. “You will get into trouble, Bobby.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby!” Susie yelled. “I am going to call Mom!”
Here, Bobby did more than said. He whined. Another “said” was simply deleted in line three, and Bobby’s name was moved to a different location for the sake of smoothness. Then, once we knew who was having the conversation, we didn’t need to be told who was speaking every time, either. Without any other characters in the scene, it wasn’t necessary to note the speaker every time something was said, as demonstrated in the fifth line.
Be creative with the words you choose over “said.” Maybe your character simply replied. Maybe they shouted. Whispered. Commented. Hissed. Chided. Reflected. Reprimanded. Snapped. Comforted. Soothed.
There are times when “said” can be the best choice. In these cases, don’t be afraid to use it. But pay close attention. How is your character feeling as they speak? Tell your reader through creativity around dialogue.
Using Names in Conversation
How many times in a real conversation do you actually say the name of the person you’re talking to? I’ll bet it might be once, but no more than that, unless there’s a specific reason, such as a reprimand or forgetting what their name really is.
Here’s what my scene currently looks like:
Example 1
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one, Susie.” Bobby stood on a stool.
Susie frowned. “You will get into trouble, Bobby.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby!” Susie yelled. “I am going to call Mom!”
To continue working on the conversation, I’ll eliminate a few of those proper nouns.
Example 2
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one.” Bobby stood on a stool.
Susie frowned. “You will get into trouble.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby!” Susie yelled. “I am going to call Mom!”
Here, I’ve removed the direct mention of names within the actual dialogue, except for the last line. All this does is make it more realistic and little smoother to read.
As you’re writing your own scenes with dialogue, try imagining yourself in a real conversation. Ask yourself if all your proper nouns are necessary. There is a time and place for them, of course. Just be selective.
Using Names around Conversation
Sometimes writers tend to use names more frequently than the reader really needs. If a scene is written with two characters (assuming their relationship and names have been established earlier on), the reader will only become bored if they’re told over and over who is speaking. They probably don’t need that much explanation, therefore, more creativity is needed.
Who are the characters to each other? Friends? Cousins? Lovers? Rivals? Using their relationship can establish more colorful text around settings of dialogue.
Example 1
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one.” Bobby stood on a stool.
Susie frowned. “You will get into trouble.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby!” Susie yelled. “I am going to call Mom!”
Example 2
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You will get into trouble.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby! I am going to call Mom!”
In my second example, I only changed two things. First, I helped the reader stay on track with Bobby, but used “Her brother” instead of his name in the third line. We already know it was Bobby speaking. Later, I eliminated “Susie yelled” altogether. There’s an exclamation point in her dialogue, which makes it obvious she’s raising her voice. Deleting “Susie yelled” not only established a trust that readers are smart enough to know what’s going on, but it eliminated one more proper noun.
The exception to these suggestions is when you have more than two characters in the same scene. It’s then necessary to make sure the reader knows who is talking to whom. But always be creative. If only two of the four characters are siblings, saying “his sister” might take the place of one proper noun. If there are two guys and one girl, then saying “she” would take the place of her name, and it would be obvious which character is talking.
There are many different ways to eliminate proper nouns. Doing so will keep the text more interesting and won’t bog it down with unnecessary information.
How is it said?
How did the character say it? What were they feeling? What was the expression on their face?
Characters need to be as real as your next-door neighbor. Tell the reader what your character is thinking with body language and tone. When you picture a fight between two characters, I’m sure they are being much more animated than simply standing and talking to one another. One might be waving their fist in the air. The other might be taking a step forward or glaring. Maybe stomping their foot. Write what you see, and the scene will absorb more life.
Example 1
“I want cookies for breakfast,” Bobby whined.
“But Mom said no,” Susie answered.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You will get into trouble.”
“I will not.” He reached for a cookie and fell.
“I told you, Bobby! I am going to call Mom!”
We can kind of see what’s happening here, led by the dialogue. But the rest has been left up to the reader’s imagination.
Example 2
“I want cookies for breakfast,” Bobby whined. He slid off his chair and headed towards the counter.
“But Mom said no.” Susie set her hands on her hips with authority.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You will get into trouble,” she warned.
“I will not.” He reached for a cookie and fell.
“I told you, Bobby! I am going to call Mom!”
Now we see that Bobby is on his way to the counter. We might have assumed earlier that he was already there. Maybe in your own scene, he’d be sneaking through a window, or jumping from the top of the refrigerator. The readers can imagine their own scene, but it’s nice to at least paint a somewhat clear picture.
Another thing I did in my second example was establish more than just a tone of voice for Susie. She’s a bossy sister, and setting her hands on her hips seems a natural thing to do. If she was your character, she might whack her brother over the head once (or twice), or wag a reprimanding finger in the air.
Susie also frowned, showing displeasure. And we might have assumed that her “You will get into trouble” was a warning, but she could have been stating it flatly or it could have been a remark of amusement. Because her dialogue could have been taken several different ways, I clarified with “she warned.” The reader needs to know before Bobby falls that Susie can easily say, “I told you so,” later on.
Once again, your scenes might be a hundred percent correct, as far as grammar and spelling go. But is it interesting?
Realistic Wording
There is always a proper way to say things, and also a more casual way to state them. When it comes to dialogue, it can be relatively easy to figure out what kind of wording should be used.
If your character is a wealthy man from England, then more proper English may certainly be required. But what about Bobby and Susie? They’re just two homegrown Americans getting into a bit of trouble.
Example 1
“I want cookies for breakfast,” Bobby whined. He slid off his chair and headed towards the counter.
“But Mom said no.” Susie set her hands on her hips with authority.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You will get into trouble,” she warned.
“I will not.” He reached for a cookie and fell.
“I told you, Bobby! I am going to call Mom!”
My first thought is that these kids probably wouldn’t worry about using proper grammar. In this case, simply using contractions can loosen up the text.
Example 2
“I want cookies for breakfast,” Bobby whined. He slid off his chair and headed towards the counter.
“But Mom said no.” Susie set her hands on her hips with authority.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You’ll get into trouble,” she warned.
“No, I won’t.” He reached for a cookie and fell.
“I told you, Bobby! I’m going to call Mom!”
Three times in this scene, I replaced more proper words for contractions, which automatically gave the dialogue a more casual (and realistic) feel. “You will” became “You’ll.” “I will not” became “No, I won’t.” “I am” became “I’m.” These all work well here because of who these kids are (another reason to know character backgrounds). Should they be raised in a more proper home though, I probably wouldn’t make these same changes.
This type of editing doesn’t belong in every manuscript or in every setting of dialogue. But it’s good to look at your characters closely. Are they wealthy and proper? Are they rambunctious children? Are they teenagers? (Note: Dialect is very different from dialogue, and is something that should be considered closely if you are writing a character that is from an area of the world with which you are unfamiliar.)
Dialogue should be real to the readers. Otherwise, the scene can feel fake, which makes it harder for a reader to immerse themselves in the story or take it seriously.
Extra Details
Giving the basics of a scene is easy. The red car went down the road. Great. But how fast? What kind of car was it? Who was on the sidewalk? Was the sun shining? Who is the driver? What is the speed limit? Was it a country lane or a highway?
This kind of information is usually provided during introductory scenes. But it can be applied to scenes with dialogue just as well, and should be in many cases – though carefully. You don’t want to inundate the reader with details.
What is happening around Bobby and Susie? What does the kitchen look like? What does it smell like? What can we hear?
Example 1
“I want cookies for breakfast,” Bobby whined. He slid off his chair and headed towards the counter.
“But Mom said no.” Susie set her hands on her hips with authority.
“I just want one.” Her brother stood on a stool.
Susie frowned. “You’ll get into trouble,” she warned.
“No, I won’t.” He reached for a cookie and fell.
“I told you, Bobby! I’m going to call Mom!”
Time for a major overhaul. I want to know what’s really going on here. In order to do that, it’s going to take quite a bit. But I want to set the scene.
Example 2
The two children sat at the kitchen table, staring at the waiting boxes of cereal. The sweet scent of chocolate chip cookies wafted through the air, making their mouths water.
“I want cookies for breakfast,” Bobby whined. He slid off his chair and headed towards the counter, looking over his shoulder to make sure their mother wasn’t coming back yet.
“But Mom said no.” Susie set her hands on her hips with authority. The cookies did smell awfully good, though.
“I just want one.” Her brother pulled a stool up to the counter and climbed on top, wobbling precariously.
Susie frowned, not daring to move from her seat. “You’ll get into trouble,” she warned.
“No, I won’t.” He reached for a cookie, but as he did, he lost his balance. Falling to the floor with a resounding crash, he sent the stool flying, along with the cookie he had wanted so badly. A gooey mess slid down the cupboard door.
“I told you, Bobby!” Susie got up and stomped to the door. “I’m going to call Mom!”
The picture has now become much more clear. Every edit before this point might have been necessary, and might have added much to the scene, but continued work provided not only a longer piece, but a much more vivid picture for my readers.
Adding more details between dialogue is two-fold. It not only helps show the reader what’s really happening, but it also breaks up the dialogue itself, providing a smoother read. This same scene could easily be edited further if I really wanted, but the point has already been made.
Uninterrupted Conversation
Adding more details in between dialogue can add a lot to your text. However, there are times when uninterrupted dialogue benefits the piece far more than adding additional information.
This would perhaps be appropriate during a heated argument. Or maybe it’s just a conversation happening in the background, and the identity of the speakers doesn’t need to be known (or you are hiding it from the reader for some reason). An example of this might be a crowd of people in a darkened room, awaiting the arrival of someone for whom they are throwing a surprise party:
Everyone crammed into one corner behind the couch, waiting for Randy to arrive home from work.
“Is he here yet?”
“Shh.”
“I think I hear a car!”
“I saw a shadow.”
“Oh, here he comes!”
“Shh!”
In this instance, my readers really don’t need to know who is talking. There is obviously a small crowd, and whether it was Tania or Bob who thought they saw a car is irrelevant.
Here’s another example, this one a heated argument between two individuals:
Dave slammed his fist down on the table. “I told you it wouldn’t work!”
“I’m sorry!” A tear ran down Renee’s face. “I was only trying to-”
“Don’t give me excuses!”
“I’m not. I’m just trying to explain.”
“It won’t matter! The damage is done.”
“I said I was sorry! What am I supposed to do?”
We knew that it was only Dave and Renee having this conversation. When there are only two characters present, sometimes not having anything in between dialogue emphasizes what is being said, as well as the speed of speech. (Just remember if you decide to eliminate details in a lengthy verbal exchange, you should still add names or actions every once in a while so the reader doesn’t lose track of who is saying what.)
In your own book, you have to decide whether you need to add details or leave them out. Maybe try it both ways. Picture the scene in your mind. If you’d rather pay more attention to the words than surroundings, leave the details out. If you think the scene is flat and needs some livening up, add details. Neither is right or wrong – but do take time to study the scene, then decide how it should be written.
Setting the Stage
Setting the stage in any book is one of the most important things to do. Aside from scenes with dialogue, readers must know what’s going on around the characters. They have to feel, smell, see and hear what’s going on. They need to absorb the details given, so they can see the story as if they were watching a movie.
Unfortunately, it’s not always easy to write this way. Sometimes it’s a struggle to put on paper what you already see in your head – this I know from experience. But when I have a good handle on what my imagination sees, I keep a few particular things in mind as I write.
Character Descriptions
How does a writer introduce a new character to the scene? When watching a movie, everything we need is right there in front of us – age, height, color of skin and hair, and what they’re wearing. But how can these details be incorporated smoothly into a manuscript?
Not having any details at all leaves readers hanging. They will eventually use their own imagination, but if they do, this limits what you can do later on in your book. (For example, if the reader has imagined your main character as a 40-year-old, and halfway through the book you mention high school, something is wrong.) On the other hand, listing character details all at once can really disrupt any flow. You don’t want to overwhelm your readers while they’re meeting a new character. This can happen not just with the quantity of details, but when and how they are implemented.
Here is a simple example, assuming this character is new to the story.
Example 1
Jake stepped out of the bus and glanced down the busy street. He had blue eyes and blonde hair. In his hand he held a large green suitcase, and he wore a long-sleeved flannel shirt. He looked to be thirty years old and was six feet tall.
Continuing his route, he aimed for the newspaper stand. The seller glanced up at him and lazily put down his book to pay more attention to this newcomer.
Now we know what Jake looks like, how old he is, and apparently he likes green luggage, along with flannel shirts. At first glance, this scene doesn’t seem too bad. But mixed in with the rest of the text, the description itself may feel more like a footnote than a natural flow of scenery.
Example 2
Jake stepped out of the bus and glanced down the busy street, his blue eyes studying his surroundings. Tufts of blonde hair stuck out from underneath his cap, and he pulled his flannel shirt tighter around himself to keep out the cold.
Lugging his large green suitcase, he aimed for the newspaper stand, ducking his six-foot frame under the canopy.
The seller glanced up at the thirty-year-old newcomer, and lazily put down his book to pay more attention.
Here, the same information has been provided, but the description has been incorporated into the surrounding text rather than standing openly in choppy sentences. In order to maintain a smooth flow in your story, you want to introduce a character so your reader knows enough about him/her without realizing they’ve just been told all of the information.
The above scene is chock full of details. I left all of them in, only because I don’t want to take up ten more pages on this particular topic. But if I have a whole novel to work with, I might wait to reveal Jake’s age. I might not care what color his suitcase is, unless it’s an important piece to the story. If I wanted to show he had blonde hair, I might wait a few paragraphs to reveal that. Further descriptions such as tone of voice or whether or not Jake has an accent will obviously wait until a scene with dialogue comes up.
Readers should know who they are meeting, but details that come out naturally are preferred.
Scenery Descriptions
Another task a writer must take on is the description of scenery. Are the characters sitting at a kitchen table or a twenty-foot long elegant dining table? Are they walking across a meadow of knee-high grass or a field of waist-high weeds? Is the house one-story or two-story?
One thing to remember, though, is to go easy. Senses should be awakened gently, not painfully shocked out of a deep sleep. I’ve already brought up several times about not overwhelming readers with certain information, and I believe that applies here, too.
I’ve read scenes in books that give me no information at all. And I’ve read scenes that are so full of adjectives that I almost get a headache. But where does one find the balance? How does one know what information to give and what information to withhold?
There’s not always a black and white answer, but I’ve written a scene that, in my opinion, does not contain enough detail.
Example 1
Ken drove up the driveway, past the barns and house, and parked near the garage. He got out and walked across the lawn to the back porch and knocked on the door, awaiting an answer.
From this, we have an idea of the scenery, but most of it has been formed by our imagination which has tried to fill in the blanks. There’s nothing wrong with it, but what if I painted a more vivid picture?
Example 2
Ken drove up the winding driveway, past the two red barns. He glanced at the older brick house and parked his truck near the garage. A few boards were loose and a window was cracked, indicating it had been neglected for some time.
He got out and walked through the tall, grasshopper-laden grass of the lawn to the back porch and tripped over a hole in the floor. After knocking on the rickety door, he waited for an answer, knowing it was pointless to hope this house had air conditioning.
In Example 1, we never would have known whether it was a new or old setting – whether it was a well-kept property or not. In Example 2, not only do we see more action and observation of Ken, but we see things through his eyes. If you were there, you would notice the things he did. We see grasshoppers, which can encourage us to hear them flitting and buzzing. Once Ken reaches the house, he’s thinking about air conditioning. It must be a hot summer day. Example 2 not only stimulates our visual senses, but our hearing and sense of touch.
I could give the reader too much, though, swamping them with details.
Example 3
Ken drove up the long, winding driveway, past the two red barns with holes in the roofs, chipped paint and were leaning a little crookedly to the right. He glanced at the older home that had been built about eighty years prior, having the look of being constructed by a bricklayer with self-taught skill.
Parking near the garage, Ken saw boards that were loose, a window that had a crack about twelve inches long and twenty shingles that had blown off into a pile along the side, dwarfing a cinderblock. It looked as though it had been neglected for five years.
He got out and walked through the tall, half-dried grass, that was being overgrown by dandelions, thistles and clover, and was home to approximately fifty-three annoying, yellow grasshoppers. Arriving at the back porch, he tripped over a hole the size of an average dinner plate. After knocking on the door that was held up by only one and a half hinges, he waited three minutes for an answer, while becoming drenched in sweat because the sun was so hot.
Some of these extra details may have ended up as interesting, but with so many of them, it can distract from the scene. The reader needs to know that Ken came, parked, and went to the house. Example 2 gives the reader enough information to paint the scene, but it leaves enough out so the imagination develops a few assumptions. Example 3 gives everything needed and beyond. Unless using this method throughout a book as a deliberate style, I wouldn’t recommend it.
There are things I both like and dislike about all three of my examples. All could be improved, and all have elements that can be helpful. My goal is to not overwhelm my readers, but feed them enough to engage their imagination without confusion.
There’s no magic formula for how many details to use in a manuscript. But a good rule of thumb is to engage readers with plenty of descriptions while avoiding too many adjectives. Only you can know what is best for your own manuscript, though. You might want to read other books of the same genre. Find one by your favorite author and see what they do. That kind of research never hurts.
The End…Or is it?
I’ve done my best to cover some of the technical aspects I consider important when tackling the creation of a book. Now, I’d say it’s time to write, edit, write, reedit, and edit some more. For me though, technicalities only take up one side of the book-writing adventure. When I started writing, I thought once I had a plot on paper that I was set to go. But I quickly learned there was much more in store. Much more work, and much more fulfillment.
Timing
You may have heard it said that timing is everything. Usually this applies to an active event, but it can apply to writing a book as well. This particular section of Timing is for those writers who are not under contract with a publisher which involves a definite deadline for completion.
Setting aside all basics to writing, there is an issue that haunts even the best of us. Sometimes what we have set in our minds as an acceptable time period for writing our book just doesn’t happen. It can be very frustrating and discouraging. But first, rest assured – you’re not alone in this. And second, with a fresh perspective, these “down times” don’t have to be nearly as frustrating.
Circumstances
Circumstances of daily living dictate our actions throughout our waking hours. Even if we don’t realize it, stress at work or within our families can make writing a nightmare. Our minds become crowded with so many other things, that trying to focus on our novels just doesn’t work.
Even though one of the hardest things for me to do when writing a book is set it aside and take a break, sometimes it is best. If my mind is trying to focus on everything else that’s happening in my life, I’m not really going to be able to dedicate enough time and effort to my manuscript. Worry. Stress. Grief. Even happy occasions and joyful activities can become priority over writing books.
Though it can feel wearisome at times, it’s okay. I’ve learned that setting aside my book for a while is not the end of the world. No one becomes angry. No one looks down on me. And even if they did, whoever it is deserves to be slapped. (If you find yourself in this position, please resist the temptation to become physically violent. Simply know their opinion should probably not be taken to heart.)
Unless you’re under contract, it’s my advice to not force yourself to write your book against all odds. If you do, there’s a risk it will become a chore, and the fun will disappear. Writing is my passion, and if I allow circumstances to rule that passion, I become too weary to complete the project. Sometimes the best thing I can do is ride out the circumstances and wait for an opportune time to pick up my manuscript again.
Writer’s Block
Oh, the dreaded affliction all writers experience at one time or another. Writer’s block. It makes me cringe just thinking about it.
I cannot stand it when I want to write so badly I can taste it, yet when I sit down in front of my notepad or computer, I just can’t write. I may know where the plot needs to go, I may have everything outlined, I may even be able to see it all in my head. But there are times when I just can’t write it out.
There are at least a hundred and nine things that can cause a lack of focus. Sometimes I know which outside circumstance has caused my writer’s block. Sometimes I have no idea. But the end result is a book partly finished and me sitting there staring at it, feeling totally helpless and frustrated.
I’ve discovered the best thing to do in these times is to simply walk away from my book. It’s hard, but it’s for the best. If you find yourself battling writer’s block, perhaps focus on something else for a while. Write a poem to get your creative juices flowing again. Take part in some other form of art. Go for a walk. Anything to get your mind off your book for a short time so you can return to it with a fresh outlook.
It takes some writers ten years or more to complete a manuscript. It doesn’t take that long to type the actual words, but it’s the downtime in between the writing when the brain is allowed time to breathe and regenerate. Sometimes setting your book aside for a while, then coming back to it later, will give you a surprising new perspective.
Writer’s block can last only an hour. It can also last a year. No matter the length of time, I know from experience that it shouldn’t frustrate you to the point of giving up. The main thing is to always keep your book in the back of your mind so you are ready when you pick up that pencil again.
Triumph
No matter how long it takes, eventually the outside circumstances will calm down or the writer’s block will diminish. Confidence to write will return once again. This cycle has happened to me many times throughout many different projects. And while it can still be frustrating, I’ve learned to not worry about it too much.
Unless an inflexible contract is involved, embracing the downtimes can prove to be a healthy method of approach. For me, these difficulties have sometimes resulted in blessings. We don’t always know who will end up reading our books or what effect the timing of release actually might have. I could force myself to finish a novel today and promote it immediately, but I may miss an opportunity that I will never even see because I rushed. If I would have just taken my time and allowed myself to slow down, what opportunities might I have had? More importantly, how much better would my book have been if I hadn’t forced it?
Triumph comes in the end, even after waiting out the downtimes. That which causes us to pause our work will diminish, and the opportunity to write will come once again. The clock shouldn’t dictate a manuscript’s completion. Passion should.
Conclusion
I hope that reading this book has been a helpful experience. Whether you are able to apply these principles to your particular book or not, I hope you can dig into the words you’re writing and make your piece the best it can be. Just don’t give up. I’m glad I didn’t.
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