Monday, November 19, 2012

Powerful Punctuation - Misuse and Over Use of Exclamation Points in Professional Fiction Writing

Ah, punctuation!

One of the most frequently misused forms of punctuation is the exclamation point or the exclamation mark. As an editor, I have frequently told authors with whom I work that I am going to remove the exclamation point from their keyboard. Don't get me wrong here, the exclamation point has its place in writing, but it is frequently overused or misused. When the exclamation point is misused or over used, it lowers its power.

The exclamation point is most frequently used in dialog, and it is usually used to denote a strong command:

Powerful Punctuation - Misuse and Over Use of Exclamation Points in Professional Fiction Writing

"Stop!"

An exclamation point almost always comes at the end of a sentence, but occasionally, it can come in the middle when using dialog that has text tags behind it, such as:

He said, "Stop!" before he reached out to grab the file from her hand.

An exclamation point can also be used to indicate shouting.

He yelled, "I'm so angry!"

This makes a stronger impact than without the exclamation point, and clearly indicates that the person was shouting, emphasizing the point.

Exclamation points are also used to denote a surprise or a shock or something that is in some way astonishing or amazing, even when the person is not shouting.

He said quietly, a shocked expression on his face, "I can't believe he actually jumped out of the airplane!"

When used this way, exclamation points are a very important part of punctuation. However, there are two consistently misused instances of exclamation point abuse regularly seen on the internet that should be avoided in professional fiction writing:

Multiple Exclamation Points and the Exclamation / Question Combo

Let's look at multiple exclamation points first:

The window on his car was broken. "I can't believe this happened!!!!"

Many writers believe that multiple exclamation points will indicate that the comment preceding the exclamation point was very important, very loud, or had a lot of emotion behind it.

Unfortunately, this is a sign of an amateur writer, and a big tip off to editors in the publishing field that the author is inexperienced. We see multiple exclamation points all the time in blogs and personal writings, and I even use them on my own blogs, but multiple exclamation points are not acceptable in professional writing.

A good fiction writer can convey the additional emotion or loudness of the exclamation in their writing along with ONE exclamation point, and multiple exclamation points are simply not acceptable.

That sentence above could be rewritten to say:

He was completely shocked and dismayed to discover the window on his car was broken. He screamed, "I can't believe this happened!"

Not only have you drawn a better word picture of the scene to your reader this way, but you no longer need the multiple exclamation points. Of course, you may come up with even better descriptive than the example here, but it makes the point.

The other problem exclamation point usage is the question/exclamation combo.

"What?!" he asked. "I can't believe this. How could this happen?!"

This is a NO-NO for professional fiction writing. If you need to let the reader know the person is yelling or astonished, then do it in the dialog tags and descriptive text, and then only use the question mark in the actual dialog.

"What?" he screamed. His voice rang out in clear shock and disbelief. "I can't believe this. How could this happen?"

In a novel, the only time you should use an exclamation point is in dialog, unless it is written in such a way that the novel has a narrator speaking to the reader or the novel is written in first person, present tense (sometimes past tense works too), memoir style, and this is not the traditional, common writing style and a very hard one to sell to a publisher, not impossible, but hard. Placing an exclamation point in the text of a fiction novel that is not dialog is one example of something known as 'author intrusion', where the author is trying to lead the reader to what they should be able to clearly see by the words and description.

In a professional articles or writing other than fiction, you simply should not use an exclamation point, ever!

Well, okay, that's not entirely true. When the writing is technical, professional, newsprint, non fiction, you should not use an exclamation point. However, when writing with a more casual style, such as web content or opinion pieces, an occasional exclamation point to emphasize a specific point in the writing is acceptable, but you want to limit their use, never use more than one exclamation point in the same paragraph, and never use the question mark / exclamation point combo.

When an exclamation point is overused, the meaning of the exclamation point, what its purpose is, gets lost. Save you exclamation points for casual writing or dialog and only when you really need it to make a point, and the power of the exclamation point in writing will not be lost.

Powerful Punctuation - Misuse and Over Use of Exclamation Points in Professional Fiction Writing
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Michelle L Devon is a professional writer and a professional freelance editor, providing editing and writing services through her company, Accentuate Services. For more information and additional hints and tips about writing and grammar, as well as viewing verified and researched paying freelance print and web content writing calls and jobs, please visit her free writer's forum at www.writersforum.info [http://www.accentuateservices.com/forum], and visit the Paying Writing Jobs thread.

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Wednesday, November 14, 2012

How Long is a Book? Determine Your Novel's Genre, Subgenre, and Best Word Count

How long should your book be? How long a book should be depends on the genre and the intentions of the writer. If you want to self-publish, it doesn't matter how long your book is or isn't because you have total control. But if you're seeking a traditional New York publisher, here are some guidelines for how long a book should be.

Please note: These are generalized guidelines for genre fiction only. There are always exceptions to the "rules." Be sure to do your own research based on your unique needs and goals. These lists of sub-genres are substantial but not entirely inclusive. There are always many ways to combine genres.

How long is a fantasy novel?

How Long is a Book? Determine Your Novel's Genre, Subgenre, and Best Word Count

A fantasy novel contains approximately 80,000 to 100,000 words.

Sub-genres of fantasy novels include: alternate history, Bangsian fantasy, comic fantasy, contemporary fantasy (urban fantasy), dark fantasy, fairytale fantasy, heroic fantasy, high fantasy, historical fantasy (Celtic fantasy, steampunk, wuxia, medieval fantasy, prehistoric fantasy), juvenile fantasy, low fantasy, fantasy of manners (mythic fiction), romantic fantasy, science fantasy (sword and planet, dying earth), superhero fantasy, sword and sorcery, and more.

How long is a romance novel?

A stand-alone (single title) romance novel contains between 80,000 and 100,000 words. Category romance (such as those imprints published by Harlequin) are generally short. Each imprint has a specific word count. If you want to write for Harlequin, identify your imprint first.

Sub-genres of romance novels include: adventure romance, African-American romance, category romance (aka "series"), chick-lit, contemporary romance, dark fantasy, erotic romance, erotica, fantasy, futuristic romance, GLBT romance, gothic romance, historical romance, inspirational romance, interracial romance, mainstream, military romance, multi-cultural romance, mystery/thriller, paranormal romance, Regency romance, science fiction, single-title romance, suspense, sweet romance, time-travel romance, traditional romance, urban fantasy, women's fiction, World War II romance, young adult, and more.

How long is a historical fiction novel?

Historical fiction novels are generally between 85,000 to 100,000 words, though some are longer.

Subgenres of historical fiction novels include: alternate history, historical fantasy, historical romance, sagas, sword and sandal, historical whodunit, sub-genres pertaining to era (as in Renaissance, medieval, Civil War, WWII, etc.), and more.

How long is a mystery novel?

Mystery novels vary in length between 75,000 and 100,000 words. If the mystery has elements of thrillers, the book may be longer. If the mystery is a "cozy" or part of a series, it may be shorter.

Sub-genres of mystery novels include: amateur sleuth mystery, courtroom drama, cozy mystery, crime, fantasy, hardboiled mystery, historical mystery, medical mystery, police procedural, private detective, serial killer mystery, science fiction, supernatural, suspense, technical thriller, thriller, true crime, Western, whodunit, and more.

How long is a thriller novel?

A thriller novel can be between 90,000 and 100,000 words or more.

Sub-genres of thrillers include: action thrillers, conspiracy thrillers, crime thrillers, disaster thrillers, drama, eco-thrillers, erotic thrillers, legal thrillers, spy thrillers, techno thrillers, and more.

How long is a horror novel?

Horror genre novels can include between 80,000 and 100,000 words.

Subgenres of horror include: body horror, cross genre (slipstream), dark, detective, erotic, extreme, ghost, gothic, Lovecraft, noir, occult, psychological, quiet, supernatural, surreal, suspense, weird, and more.

How long is a young adult novel?

Young adult (or YA) novels can between 40,000 and 75,000 words, depending on the targeted age group.

Young adult novels generally have the same sub-genres as adult novels. Edgy YA tackles controversial or tough issues.

How long is a Western novel?

Western novels can be between 45,000 and 75,000 words.

Western sub-genres include: coming-of-age, buffalo runners, celebrity, detective, fantasy, Gothic, horses, Indians, inspirational, land rush, law and lawmen, mining, Mormons, mountain men, mysterious rider, railroads, romance, science fiction, series, sweet and savage, the West still lives, town marshal, wagons West, and more.

How Long is a Book? Determine Your Novel's Genre, Subgenre, and Best Word Count
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Sunday, November 11, 2012

Writing the Flashback in Fiction

Flashbacks are tools for the fiction writer to add depth and interest to a story, as they can be a part of any piece of writing in any genre and type. Flashbacks are important for the drama in the story, because they bring the reader into the life of the characters on an emotional level and let him enter the characters' thoughts, feelings, and expectations.

The main obligation of the flashback is to take the readers back in time when that time or place in the past matters greatly to the storyline and to the present and the future of the characters. By the same token, the flashback has to aid the reader's grasp of the story. The reader's grasp usually matches the writer's understanding of his characters and their situations. If a writer has not fully fleshed out his characters in his mind, the flashbacks may run the risk of being irrelevant to the story.

Let's say, in a very short story, a character named Mike eats a quart of ice-cream in one sitting and remembers, in flashback, his mother serving him ice-cream. Then Mike goes to his job with the CIA and discovers his best friend is a mole. After a few incidents, he proves who the mole is to his bosses. Here, the ice-cream incident and the flashback that come with it have nothing to do with the discovery of the mole, so it shouldn't be included in Mike's discovery-of-the-mole story, even if the writer may imagine it helps to bring out the soft side of this character.

Writing the Flashback in Fiction

One way to bring flashbacks to a story is to give them in total in the beginning as a prologue, an introduction, or an introductory chapter. The advantages of the total flashbacks are:

o Total flashbacks allow the telling of the story without stopping the action.
o They give the story a chronological order.
o During the storytelling, the critical backstory data serves to give depth to the story.
o Writing the total flashback is easy on the writer. After he is done with the backstory in flashback, telling the real story becomes uncomplicated.

The disadvantage of the total flashback in the beginning of a story is that it can bore the reader with the long past, instead of pulling him into the story's action and the story's present time.

Another way to insert flashbacks in a story is to give them in several large chunks inside the story. The film industry can use cut-aways for this; however, in writing straight fiction, large chunks work better only in slow-moving stories. If the writer is telling a fast-paced story in any genre, he needs to avoid the large chunks of flashbacks.

In addition, this type of flashback is best used by signaling its beginning and end in some way or possibly putting the flashback in italics. As to the dialogue in a large chunk of flashback, it can be summarized, if possible.

A third way of inserting the flashbacks in the story is to insert small pieces of flashback, possibly in one or two sentences wherever they are needed. The advantages of this technique are:

o The writer has flexibility in telling the story, as to how to tell it and how much he will let the reader know.
o The writer can weave in critical information and background material at any time he wishes.
o He can use it to increase suspense or to attract the reader's curiosity
o He can create layered characters during the writing of the real story.

On the negative side, if not handled well by the writer, this technique may cause the reader to confuse the past with the present.

A few points to pay attention to while creating flashbacks are:

o The contents of the flashback should not be more exciting than the real story.
o A flashback works better if it follows a strong scene.
o The writer should orient the reader at the start of the flashback in time and space. If the transition of the flashback is not adequately written, past and present may become a jumble in the reader's mind.
o During the revision process, it may be necessary to leave out the least important incidents in the flashbacks and trim down the existing ones.
o As to usage, the writer may want to make use of the verb tenses to signal a flashback's beginning and ending. If the story is told in the present tense, the entire flashback can be in the past tense. If the story is told in past tense, the flashback may begin with past perfect to signal the change, then the flashback may continue with the past tense again, in order not to overuse the weighty past perfect. Then the ending of the flashback can be maneuvered into past perfect again before continuing the story with the past tense.

Some caveats concerning flashbacks are:

o The writer should not make the contents of the flashback more interesting or longer than the real story.
o The writer should not introduce the flashback as the first real scene in the story. This doesn't always work.
o Flashbacks within flashbacks run the risk of confusing the story and the reader who is reading it, unless the writer is as highly experienced as John Updike.
o Too many and too long flashbacks tend to turn a story into an epic. If that is not the intention and there is a limit to word count, the writer must be careful with long flashbacks.
o It works better to use flashbacks sparingly and with discretion since they do tend to slow the pacing. An experienced writer will not use flashbacks past the three-quarters of the real story.

Writing the Flashback in Fiction
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Tuesday, November 6, 2012

Song Lyrics in Fiction - What Writers Need to Know

Authors sometimes find it really tempting to use song lyrics in a novel or story. The words of the song are just so powerful and so right that... well, they need to be there.

If you're considering using song lyrics in your work of fiction, you may want to come up with a back-up plan. Here are some things you should know:

you or your publisher may be able to get rights to use the lyrics--or maybe not it's probably going to cost you (typically a small fee per copy you make, but that can add up) your publisher may decide the lyrics aren't worth the time/effort/money required to use them.

Song Lyrics in Fiction - What Writers Need to Know

What about 'fair use'?

Fair Use principles weren't put in place to cover fiction.

You could claim fair use if you were writing, say, a nonfiction piece looking at U.S. cultural shifts over the last fifty years through the lens of Top-10 lyrics. To write such a work, you'd clearly need to reference some lyrics. But if you tried to get permission and pay for every single song, those barriers would jeopardize your ability to produce the work. Fair use would allow you to quote a few lines from each song to help make your point as you presented your analysis.

Putting lyrics into your fiction is something else altogether.

You'll read a lot of pages online that talk about lyric printing as 'fair use', etc., but that's a stretch of the fair use doctrine and completely unreliable when it comes to novels and other works of fiction.

What's the worst that could happen?

I'm not a lawyer. Personally, I think the worst that would probably happen is that someone would see you used the lyrics and sue to make you pay. You'd have to pay the usage fees, plus maybe some punitive damages and court fees. All that could add up to a great deal more than it would have cost to get the rights in the first place.

I further think rights-holders' attorneys' time would be better spent going after web sites that publish lyrics and musical arrangements in their entirety.

If you have a bestseller on your hands and make millions, though, you're going to be putting yourself into a whole other class of rights violators.

Shouldn't the artist or songwriter be pleased I love their work enough to include it?

Don't take it personally; it's business. Artists, unless they wrote their own songs or bought the rights, don't really have a claim to the lyrics. The songwriter does unless he or she sold them all. But the person you need to worry about most in this equation is typically a music publishing company. That company probably paid money for the rights to control publication of those lyrics you want. They're highly unlikely to get warm fuzzies because you want to use lyrics under their control. Even if they do, they have to pay people (such as the songwriter) for that usage.

Bottom line: Lyrics are intellectual property. They're worth money.

But isn't this like free advertising for them?

In a way... maybe... if your story causes a bunch of people to rush out and buy the sheet music. But that's not likely. At best, it might cause readers to buy the song. That's covered under altogether different rights--performance and recording rights, etc. Someone, somewhere might be pleased. Depending on how things are set up, a little of that money might even trickle to the music publishing company. That prospect, however, is not likely to cause that company to let you use the lyrics for free.

So how much does it cost?

Basically, to use the song, you'll need to enter into a contract with the rights-holder. That company will tell you how much it wants for the usage you've described. A lot of factors go into the cost, including the portion of the song that you're intending to use. If you're only using a line or two, you may be looking at only a few cents per copy you make. Or it could be a lot higher. There generally are different fee schedules for hard-copy vice online use. You won't really be able to gauge the potential cost until you ask.

If all you want is a few lines from a single song, it's probably affordable. If you want to start each of thirty chapters with a line from a song, your cost and hassle will multiply. You're going to have to pay for each of those lines. Getting permission may entail going to not one, but several, different companies.

How do I get started?

Basically, you start the process by writing to the entity that manages the rights.

If you're an author in search of a traditional publisher, it won't do you much good to ask early. If, however, you plan to disseminate copies of the work while you're on your way to publication, the safest thing to do is to request permission from the rights-holder. Often, the company is willing to let you use the lyrics in this way for free. For example, I've been able to get permission to use sets of lyrics in online writing workshops for free because I wasn't making any money from the work and because only a few hundred people would visit the location where it was posted.

If you don't intend to share the work with others prior to publication, it's best to wait until you're a little closer to publication to request permission. In considering your request for rights, the company is going to want to know how many copies will be published and what format, as well as other things you can't tell them. You and your publisher can decide how to handle the request--if your publisher's even willing to deal with the issue at all. Some small publishers just don't have the resources to deal with the usage requests and the required follow-up. Your publisher may just tell you to scrap the lyrics.

If you're going the self-publishing route (hard-copy or e-book), then you should be in a position to give the rights-holder the details it wants.

How do I request permission?

Generally, you write to the music publisher. Try Googling the song name and the term "sheet music". There are lots of places that sell sheet music online for a few dollars, and you can download it right away. I often find the answers I need for this at sheetmusicplus.

Check the details for the song to make sure you've got the right one. Sometimes the same song will end up in different arrangements, published by different companies. And sometimes multiple songs will share a title.

The sheet music will reveal the publisher and its address information and, in some cases, will even tell where to go for additional permissions. If it doesn't, the publishing company's webpage probably will.

If you're unable to determine the music publisher, you might find some hints by checking the songs in the databases of the entities that handle performance rights: ASCAP; BMI; and SESAC.

Once you get the music publisher's contact information, you can write to the company (some even have online forms) and tell what you want to do and what lyrics you want to use. Make sure you tell them what you want is a *print license*. Most of the publishing houses have guidelines on their sites for what they expect in a license request. After that, they'll probably write you back and/or send you a proposal contract with their terms. It's probably going to include a lot of details that make no sense to you, unless you're a lawyer; if you're not, you might want to talk to one about that contract so you understand what it is you're signing.

By the way, there are companies online who make all this easier, if you're willing to pay them to do it for you. They'll track down the info., handle the paperwork, etc., but most authors I've talked to don't think those companies are worth what you'd pay.

What are my alternatives?

Ditch the poetry.

Write your own poem.

Find a poet or songwriter who's fighting to make a name for himself; he might be willing to let you use his material for free, if you give him proper credit.

If it's really, really got to be that song, then consider just giving its title (surrounded by double quote marks) and don't use the lyrics. Because there are only so many words that can be used, song titles can't be copyrighted except under really stringent conditions in which they can be treated as entities unto themselves -- like if the song title comprises a whole line from the song or if it's a made-up word that the writer himself created or something like that. Usually, it's not so much copyright as trademark protection that comes into play there. But that's a really rare situation and so for general use, song titles are thought of as fair game--sort of like book titles. Still, the safest thing is to double-check (either through checking on the web or contacting the lyrics' rights-holder) to make sure your song name isn't one of the few exceptions.

If you're just posting your writing on the web, without charging for it, then you have another option. Include the song name and a link to the song at a music-sharing site. I personally like IMEEM because it's reported to have contracts with the big recording labels so that all the appropriate people get paid when the songs are played. Plus the player has a link that your reader can follow to buy the song, so this really is a way for you to give free advertising to the song you love.

Imeem is free and ultra-easy to use. The page for a song gives you code that you can just drop onto your blog or webpage to play the music. Some of those are limited to a 30-second play, but that's usually enough to convey the essence of the music, remind the reader of the song, etc., and if the reader wants to hear the whole thing, he can always follow the link to Imeem.

A word of caution: I've only looked into IMEEM for noncommercial usage. I assume they mave different rules when it comes to works for which you're actually charging. If your readers have to pay to access your work, you'll need to contact IMEEM to find out whether your usage falls within their license terms.

Where can I get more information?

Check out the links at the bottom of this article.

Song Lyrics in Fiction - What Writers Need to Know
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Check For 100 New Release & BestSeller Books For Your Collection

Dora McAlpin moonlights as Rascal E. Riter ( [http://www.rascaleriter.com] ), ferreting out the stuff writers really need to know.

She is author of three ongoing fiction series: Armageddon Lost; Broken Sparrows; and The Promises Series.

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Thursday, September 6, 2012

Sales Pipeline - Fact Or Fiction

As salespeople know, the pipeline is a vital part of the sales process. But what is the usual definition of a sales pipeline? It may be a list of prospects at various points in the sales cycle, from leads to those ready to close. At times, a sales pipeline could be a set of leads and nothing more. In order to maximize the sales process, the sales pipeline must be a well-planned management cycle with specific components. In this view, today's sales pipelines are not quite fact, but not quite fiction, either. Let's find out how to upgrade that sales pipeline into a true sales cycle management system.

The first component of sales cycle management is opportunity management. In short terms, opportunity management is the act of focusing on the most promising sales possibilities. When you manage opportunity, you are expending energy and time on probable sales instead of the "maybe's". But how do you go about managing opportunities? First, you must identify them. Which possible sales are moving forward? Which ones, based on forecasting, will be more likely to close? Next, prioritize the list based on expected income generation, time to close, and expense. Finally, allocate resources to those opportunities. Sales people can also maintain their list in "top ten" or "top five" format, that is, focus on the top opportunities and update them constantly as the sale moves forward.

Next, sales forecasting is an important component of your cycle. Forecasting is simply the prediction of sales based on past numbers - along with analysis of existing conditions. When you forecast, you're creating an objective view of the future and rooting your sales pipeline in reality as opposed to "fiction". Forecasting also gives a good view of the price of products as well as the cost of closing sales. But to be completely rooted in reality, your forecast must take into account the factors acting upon sales, including seasonal need, general economic conditions, competitors, and consumer conditions. There are various formulas for sales forecasting based on qualitative and quantitative measurements, but you have to determine which one is right for your organization, products, and sales measurements.

Sales Pipeline - Fact Or Fiction

The third component of the sales cycle is account planning, or building a realistic sales plan. From your opportunity management and sales forecasts, you can establish sales goals, strategies, and tactics. As part of account planning, you should take these goals, strategies, and tactics all the way down to the individual customer level. By doing this, you'll be able to develop sales plans for the best opportunities - and break goals down into time periods. The combination of plans for opportunity and time-based goals will create a strong account plan.

The final piece of sales cycle management is performance analysis, which essentially closes the gap on your sales cycle. Sales performance analysis is sometimes brushed aside in favor of "keeping the cycle moving", but you should spend a considerable amount of time and energy here in order to adjust your entire process. In order to analyze performance, you first need to know your close rate. From knowing this bit of information, you can improve your definition of a qualified lead in opportunity management - if close rates are low, your opportunity management process is out of line. Through your analysis, though, you'll be able to shorten your entire cycle by spending targeted, quality time on the most probable sales. You also need to review sales goals consistently, by time period. Are sales falling far short of the goal or in constant excess? What you find out may again point to flaws in the other components of your process. Another point in performance analysis is to audit each sale and determine how much was spent to generate the income from the sale - everyone involved in the sale should understand the profit margin. As you consistently analyze sales performance, you'll be able to make adjustments at all phases of your sales cycle.

So a traditional "sales pipeline" is not necessarily "fiction", but it must be modernized to include the four components of sales cycle management. In our next series, we'll look at each individual sales cycle component in more detail so that you can move your pipeline into firm reality.

Sales Pipeline - Fact Or Fiction
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Copyright 2008 Bryant Nielson. All Rights Reserved.

Bryant Nielson - Managing Director and National Sales Trainer - assists executives, business owners, and top performing sales executives in taking the leap from the ordinary to extraordinary. Bryant is a trainer, business & leadership coach, and strategic planner for sales organizations. Bryant's 27 year business career has been based on his results-oriented style of empowering.

Subscribe to his blog - and learn the legendary secrets of top business training programs at: http://www.BryantNielson.com

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Sunday, September 2, 2012

Fiction Tips - What is Backstory?

One of the weaknesses I've often seen in the work of beginning novel writers is a lack of time spent in creating the backstory. They are in such a rush to get the story on paper, they fail to consider where there character were and what they did, previous in time to the story setting itself.


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First of all, let's define backstory, and then we'll discuss why it is so very important. And why all authors must include this vital step in plotting.

Definition of Backstory

Fiction Tips - What is Backstory?

Each of the main characters in your novel has a life, which means he or she also has a past. They didn't just jump into life the moment the story begins, even though for you as the author that's exactly what has happened.

This is true with any person - their past experiences, their upbringing, their family history, their sibling relationships, their political and social attitudes - all make up the entire personality of that person. They are who they are because of their past history.

Now apply this to your characters. Where did they come from? What is their family history? What circumstances has brought them to the place where they are now? All of this makes up the backstory.

Importance of Backstory

Anyone working on plotting a novel would do well to spend time outlining (only for the eyes of the author) the "pre-story" past going as far back in time as seems interesting - or helpful. Or you may want to write short biographies of each of your main characters in which at least some of their lives in the past have intersected.

The more you know about your character's past, the deeper and richer your character will become. In fact, the deeper and richer your entire novel will become.

How much of your backstory will appear in the novel? That depends entirely on the flow and focus of the novel itself. For some, it may appear in the form of a flashback. Or the backstory facts may resonate in small conflicts, joy, or veiled barbs.

In the second book of my Tulsa Series, Tulsa Turning, I had already established in the backstory that the main character Clarette came from a wealthy family whose wealth came from the silk trade. Though the book is set in 1921, I knew from the backstory that her ancestors had sailed the dangerous seas to China to ply this trade.

Clarette is a rebel who wants nothing much to do with her family's money. She wants to make it on her own as a newspaper reporter. On a return visit home (from New York City to New Jersey) she is in conversation with her staid and snobbish older brother.

Because the backstory was already established in my notes, it was simple to create this scene. Brother, Aubrey, is chiding Clarette for dropping out of the fine girls' school chosen by their parents.

************************

"Miss Damerow's is a fine school," he told her, "where you were learning decorum and discretion, not women's rights and Sigmund Freud."

"No matter where I studied, I'd still be me."

"Perhaps. But you'd be a better you."

"I'd be a boring pattern of my staid ancestors."

"Our ancestors are all people to be proud of and to emulate."

"Really? Then why aren't you sailing to China on clipper ships, bringing back the yards of silks, rather than sitting in the office making boring deals on the telephone?"

"Not that way!" Aubert interrupted her, reaching out to pull at the steering wheel.

By instinct she'd almost turned down the road to the sturdy old two-story where the two of them had grown up together.

"Okay, I got it," she retorted smacking at his interfering hands. It was difficult to remember that her parents were now at home at the impressive Vanderpool Estate a few more miles down the road.

Their life in the old house existed when the Vanderpool business was in silks and silks alone. Those endeavors had mushroomed into several garment factories, a new boutique on Fifth Avenue, and now the newest twist, her father's interest in the ever-growing stock exchange.

"Back to my question..."

"The ability to sail a clipper ship wasn't the type of emulating I was referring to, Clarette, and you know it."
*******************

Creating backstory may mean checking dates and historical facts, all of which help you as the author to be more in control of your story line.

Dangers of Creating Backstory

One danger of working with backstory is that it may turn out to be so much fun it will keep you from the actual writing of your novel.

The second danger is that you become so enamored with the backstory that you feel you must dump it on the reader all at once, simply because you have all that information. When that happens you'll end up with way too much flashback in the novel, hindering story flow.

Keep in mind that this information is not a stimulus for the present novel storyline, but a foundation upon which to build.

Fiction Tips - What is Backstory?

Are you a fiction lover? Are you a student of fiction? A teacher of fiction? A reader of fiction? Let veteran, published author, Norma Jean Lutz help you enhance your knowledge and appreciation of fiction writing. Author of over 50 published books as well as hundreds of articles and short stories, Norma Jean is a popular workshop and writer conference instructor. She shares tips, concepts, and intricate writing techniques right here: http://www.fiction-aire.com/fictionaire.html

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Tuesday, August 28, 2012

Teaching Main Idea and Authors Purpose

What is the difference?


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Main Idea: All stories, paragraphs, poems and articles have a main idea. The main idea tells us what the passage is about. The main idea, if stated, is also known as a topic sentence, and is usually stated in the first or last sentence of the paragraph, but not always. Sometimes it is in the middle of the paragraph, and sometimes it is not even stated (but implied). The other sentences tell more about the topic sentence. To find the main idea, one needs to ask themselves, "What is this passage mostly about?"

Author's Purpose: Every author has a purpose for writing his passage. It might be to give information, explain something, solve a problem, sell something, persuade, or even simply to entertain. Authors support their purpose for writing with their point of view...their thoughts, feelings and beliefs.

Teaching Main Idea and Authors Purpose

In reading fiction, one needs to know who is telling the story. Is it a main character? Or is it someone else, a narrator? It is also important to understand the tone or mood of a story (the feeling that the author creates). Is it funny, sad, or scary?

Children often have difficulty distinguishing the difference between these two reading elements. I find it helpful to teach Main Idea first, making sure they understand before I move on to Author's Purpose. After they understand both concepts we discuss the differences. it is also important to question and listen to the child so you are sure they understand.

How to teach these to concepts: To begin with explain the concept you are teaching. You can actually read the descriptions I give above or use your own words if you like.

The next step can be quite fun if you adjust to the child's interests. Do they like to fish, hunt, play games, help you, tell stories, or read about certain subjects? I have had students write a letter or an article, and then ask them to tell me their main idea and/ or authors purpose along with other questions mentioned above. Sometimes I choose passages that I know they would be interested in reading, and ask the same questions. While viewing a TV advertisement (or an advertisement on a cereal box) it can be fun to ask them what they think the authors purpose is, and if they agree with it. There are numerous daily activities that can support your teaching objectives.

Using curriculum is great too. There is some very good curriculum out there, which can be a time saver for you the educator, and there is nothing wrong with that if it is working for you and your student. I personally use both curriculum and the creative methods.

Don't be intimidated. With a little information and the right tools, teaching children to read is fun and easy.

Teaching Main Idea and Authors Purpose

Roma Cox, who is a professional tutor, has over 32 years experience in helping children learn to read. She is often given the children that are expected to fail, and her success record with these kids is 88.8%, and higher if given the children before problems develop.

She has an elementary reading curriculum available on line that "children beg to play"...not like anything else. You can learn more about her curriculum, her services, and receive her free News Letter by visiting her web site http://www.read-phonics.com/.

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