Hooking a Reader

October 31, 2007 — Pat Bertram

The age of writing long descriptive passages (or even short ones) at the beginning of a novel is long past. Today people want to be drawn immediately into the story without wading through unnecessary verbiage. An editor might look at the first five pages before tossing aside your manuscript, but potential customers will give you a mere twenty seconds to draw them in. Once you have caught their attention, they might read a little further, and perhaps they will even buy the book. They certainly will not wade through the first five, ten, fifty pages until they get to “the good part.”

That “good part” must be right up front, especially if you’re a first-time writer. That’s all you have going for you — the ability to get off to a fast start and capture the reader’s attention. Your name certainly won’t do it; no one knows who you are yet. Your credentials might help, but only to establish your credibility after a potential reader has been hooked. And they will never be hooked by your ability to turn a clever phrase.

So what will hook the reader?  A character. Always a character. No one reads a book for a description of the weather, a place, or an issue. They don’t even want a description of the character. They want to meet him, to see life through his eyes, to bond with him. They want to know what he wants, what his driving force is. And they want to know who or what he’s in conflict with.

Without conflict, there is no story, but without a character for the reader to care about, there is no story either. Character and conflict are inextricably combined, and together they create the tension necessary to sustain a story. I know you think it’s okay to let the tension rise slowly, which it is, but the tension level at the beginning must be high enough to let the reader know something is going on.

A practiced writer knows how to adjust the tension by temporarily letting up on the main conflict and interjecting intermediate conflicts, or even adding inner conflicts to shadow the outer ones, but all conflicts must be somebody’s conflict. For example, you might be concerned about war, but seeing a specific soldier dealing with his experiences makes you care, maybe even makes you cry. And you will want to know what becomes of him.

That’s what hooks a reader.

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Cultivate Subtlety: Throw Out Your First Chapter

October 30, 2007 — Pat Bertram

What is the first thing you should do when you finish your novel? Celebrate, of course. Though there are millions of us worldwide who have written a novel, there are billions who haven’t. When we try to break into print, however, we enter a different dimension where everyone has written a novel, and we begin to feel as if we’re facing impossible odds in the publishing lottery. And it is a lottery, no matter what the insiders want us to believe. The right book on the right desk at the right time is the name of the game unless you are an extremely talented writer. But if you are that talented, you would be reading your contract, not this blog.

So, for us normal folk, what is the second thing to do when when the novel is finished? Start the editing process. And the first thing to do is throw out the initial chapter. Beginning writers tend to tell too much too early, thinking that’s the only way a  reader is going to know what’s going on, but by not telling, we add a little mystique and perhaps some subtlety to our writing. Being subtle is the sign of a great writer. Not everything needs to be described; not everything needs to be explained. If you let your readers create part of the story, they become part of the story, and they will remember it. (And you, too, the next time they are looking for a book to buy.)

I can feel you cringing, thinking that you need that first chapter, that it contains information necessary to the story. Don’t worry. If that vital bit of information is not mentioned elsewhere, simply add it to a later chapter. But if you are like me, you probably already have a second mention of that information in the body of your work, in which case it won’t be missed when you get rid of that first chapter. Don’t get delete happy though; be sure to save the chapter. You will need it for future reference as you revise the book.

One other reason to throw out the beginning: when you wrote it you were a neophyte. By the time you finished the entire first draft, you were a writer. You learned how to put words together to create an image, you learned how to make characters come alive. That experience needs to be exhibited at the start.

If you don’t like the idea of throwing out your first chapter, do what Margatet Mitchell did. She wrote Gone With the Wind from back to front.

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Conflict: Where a Story Begins

October 29, 2007 — Pat Bertram

Sometimes it seems as if most books and movies today are glorified comic books, epic battles between the good and the impossibly evil. Conflicts in which there are no shades of gray must be satisfying for many people, but I like a little more subtlety in my conflicts, a little more reality.

In a world that seems to be run by the major corporations, the stories where a lone hero takes on a megalithic corporation, brings down the owner of the company, and saves the world just are not plausible. Though I’m sure the presidents of the major corporations think they are indispensable, they are not. If they are eliminated, there will always be others to take their place, and the corporations will go on doing whatever it is that they do.

Because I know this and cannot escape it even in a world of my own creation, the conflicts in my books tend to be less clearly defined. Of course I have heroes and villains, but the villains are not always dastardly ones, though my other characters may perceive them as such. The villains are the heroes of their own story, and though a corporation is often the villains’ vehicle, my heroes don’t bring it down.

I like my heroes to find a romantic partner, a co-protagonist. It seems to dissipate the energy of the story if the two are always in conflict. I prefer it when they bond together in their struggle against fate (or an employee of a corporation as the personification of fate). To me, the biggest villain around is fate. What is more unfair, more murderous, more disastrous than fate?

My heroes never bring on their fate. Perhaps my books would be more dramatic if they did, but I cannot sympathize with characters who are the cause of their own problems. And why do they have to when life itself is always ready to cause problems for them?

When fate comes knocking on the door, everything changes. And that’s when a real story, not a comic book, begins.

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Be Your Own Editor

October 28, 2007 — Pat Bertram

 Today I took a break from my study of a bestselling writer, (I can handle only so much romance before it makes me cynical). Instead, I picked up a thriller. To say I found it less than thrilling is an understatement. (See what I mean about becoming cynical?) I hope in my search to become a publishable writer I do not lose my love of reading, but I can feel it happening. I get caught up in the words and lose the story.

And the authors are not helping.

In this particular thriller, a character was supposed to be a precise individual who did not use contractions. The writer did fine for most of the first chapter, then forgot what his character’s persona was and started contracting all over the place. So, is the character precise? How do I know if the author does not?

According to Emerson, “A foolish consistency is the hobgoblin of little minds.” Some authors must think any consistency is an indication of a small mind, or they do not know the meaning of the word. The only consistency I see is poor writing.

Okay, so I will give the author the benefit of the doubt. I know that sitting at a keyboard for any length of time can be rough, and that one can get so involved in one’s own story that one loses track of the words one is typing, but that’s why there are editors.

Are there editors, though? I don’t see much indication of it. Too many elemental mistakes are being made by authors who should know better.

The moral of today’s tale? We must learn how to be our own editors if we hope to reach the brass publishing ring. This blog is no place for a tutorial on editing, but you know how to do it anyway. Make sure you use proper grammar (except for when you purposely do not want to use it). Take out all unnecessary adverbs and adjectives, remembering that most of them are unnecessary. Remove anything, no matter how much you love it, that does not move the story along.

And be consistent.

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Write Intelligently Until You Become a Bestselling Author

October 27, 2007 — Pat Bertram

I’ve been reading the novels of a bestselling author, trying to figure out the secret of her success, and for the life of me, I don’t see it. Perhaps it’s hidden beneath her appalling writing style, but most times her poor writing dims any possibility of my enlightenment.

Even a neophyte writer knows that any action a character undertakes must be motivated. Although in life we often act on a whim or a hunch, when a character in a novel does it, it comes across as too slick, too much author convenience, as if the writer couldn’t be bothered to take the time to come up with a plausible motive for the action.

For example, in one book, the writer has someone searching the character’s house for a set of papers, which weren’t there because the character had removed them on a hunch. You and I could never get away with that! We’d have to come up with a motive, and it’s not that difficult. The character could have taken the papers to a diner to peruse them during lunch. Or maybe taken them to a safe deposit box. Or any reason other than a hunch.

Even worse, when the character found out her house had been searched, she was stunned. Then why the hunch to remove the papers? Maybe she was expecting rats to eat them.

In a roundabout way, I suppose I did learn something: write intelligently.

At least until one becomes a bestselling author.

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A Halloween Story in Miniature

October 25, 2007 — Pat Bertram

A drabble is a short story of exactly one hundred words with a beginning, a middle, and an end. I have been experimenting with this story form as a way of improving my writing, trying to get as strong an image as possible in just a few words. Here is a miniature story for Halloween:

       Cuddling her baby, Cassie went to answer the door.

       Anna, eyes bright beneath hooded lids, smiled at her. “I came to see my newest neighbor.” She bent forward and peered into the baby’s face. “Oooh, he’s so sweet I could just eat him up.” She held out her arms. “May I?”

       Pride welled up in Cassie’s chest. “Sure.”

       With a sudden sinuous motion, Anna took the baby, popped him in her mouth, and swallowed him whole.

       Unable even to scream, Cassie stared at the bulge in the woman’s midsection.

       “What?” Anna gave her a puzzled look. “You said I could.”        

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Coloring Your Way out of Writer’s Block

October 24, 2007 — Pat Bertram

How color vision actually works is still a mystery, but there is no mystery about the profound effect color has on human physiology. Red tends to raise blood pressure, increase pulse rate, and excite brain waves. Blue tends to have the reverse effect, and green tends to be neutral.

So, if you are having writer’s block, try a little color therapy. It can’t hurt; at the very least it will give you something besides your computer screen or those same old walls to stare at. And it has the benefit of being exceedingly simple. All you have to do is choose your color from the following list, wear it, hang it on the wall, find a knickknack or a bouquet of flowers that color to put on your desk, then focus on it.

Purple will boost your creativity, and help stimulate your intuitive abilities.

Yellow can help you feel optimistic if your blockage is making you anxious and depressed. It can also induce enlightenment, which is what you are looking for.

Dark blue encourages meditative thinking, so it’s especially helpful if are having difficulty focusing.

Green helps promote harmony if your inability to write is making you irritable.

Red will energize you if you’re too tired to think.

Even if the color therapy doesn’t bring about the effect you wish, playing around with all those colors will give your mind a rest from writing, and perhaps when you return to your keyboard, the problem will have resolved itself.

If not, do what I do: go for a walk.

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Cheat Your Way to a Colorful Character

October 23, 2007 — Pat Bertram

The Luscher color test for gaining accurate psychological information about a person has been around for six decades, and though it is not widely used in the United States, it is prevalent in Europe.

A few years ago, I bought the book, thinking to take the test, but I never could decide which of the colors I liked best; they all looked murky to me. Even if I did manage to arrange the color cards in order of preference, I would have had to go through all the equations to figure out what that order meant, and it seemed to be a lot of trouble for nothing. I set the book aside, promising to take the test some day, and that book has been sitting on the shelf taunting me. But no longer.

I found the test on-line today at colorquiz.com, and took it. Finally. In some respects it was surprisingly accurate. It said I felt restricted and prevented from progressing; that I was seeking a solution to remove these limitations. Which does describe my quest for publication. It also said that the fear of being prevented from achieving the things I want leads me into a relentless search for satisfaction in the pursuit of illusory or meaningless activities. Like this blog, perhaps?

The results were divided into six sections: the existing situation, stress sources, restrained characteristics, the desired objective, the actual problem, and the actual problem 2. Those sections seemed familiar, and then it occurred to me they were similar to the character profile I create when outlining a new novel.

So, here’s how to cheat your way to a colorful character: if you don’t want to go through the trouble of figuring out what your character wants, what stresses him, what his secondary problem is (the primary problem you already know; it’s the story problem) go to the color quiz website, imagine you are your character, and pick the colors your character would choose. Instant profile.

You still have to write the character, but at least you won’t have to worry about making him psychologically realistic.

I meant to be facetious by suggesting this, but now that I think about it, it’s not a bad idea. I might follow my own advice.

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The Most Important Writing Technique to Master in your Quest for Publication

October 22, 2007 — Pat Bertram

The most important thing you will write is your endorsement on the back of a royalty check, but that is not a technique you have to master. You have probably envisioned it a hundred times.

Then what technique is important? Well, for starters, you have to master the technique of storytelling, but that does you no good if the editor doesn’t read beyond the first five pages. So you have to master the art of creating interest and interesting characters in your first pages, but a busy editor might not give you that much of her time if you haven’t hooked her in the initial paragraph. Mastering the art of the hook, then, is crucially important, but it is not the most important technique to master.

If you’ve read any books on how to get published, I’m sure you know by now where I’m headed. Not to the title, which is relatively unimportant; the publicity department will change it anyway. And not to the synopsis, though that is very important since it would be introducing your story.

All that’s left is the query letter, which is definitely the most important technique to master on your quest for publication. If you don’t create interest for your book in your letter, no one will read your synopsis, won’t read your initial paragraph, won’t read your first five pages, and won’t even look at the rest of your manuscript. And there will be no royalty check to sign.

Although I’d read over and over again about how important it was to master the art of writing a query letter, it didn’t strike home until several months ago when I was shredding all the rejection letters I’d received. I was feeling down, thinking my dream of getting published was never going to be realized, when it occurred to me that my manuscript had never been rejected. No one had even seen it. All that had been rejected was my query letter.

I can’t tell you how to write a winning query letter, because if I knew how, I would already be signing checks, but I do know there is only one way to master any technique. Practice. Practice. Practice.

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What do you call an unpublished writer?

October 20, 2007 — Pat Bertram

What do you call an unpublished writer? A writer, of course. All it takes to be a writer is to write, and going by the proliferation of blogs on the Internet, almost all of us are writers.

Being a novelist is something completely different. You need to be a writer, certainly, but you also need to know the elements of storytelling, how to create characters that come alive, how to describe a scene without losing the momentum of the story. And then you need to put it all together into a cohesive whole that engages the reader’s attention.

But most of all, you need to actually write the novel, to put your idea into words and get it down on paper or into your word processor. That takes discipline. So does rewriting the same novel perhaps a dozen times until you get it right. Because, as we all know, there are no great writers, only great rewriters.

You do all that, and then one day your novel is finished. You’re proud of yourself for having accomplished something many people only dream about, then the terrible truth comes crashing into you with all the force of a linebacker’s tackle: no one cares. Perhaps your family and friends will care, but even from them you will hear the same self-absorbed comments you get from strangers.

You know the ones I mean:

  1. I could have written a book, but . . .
  2. I always thought my life would make a good book . . .
  3. I wrote a book: My diary.
  4. I’ve written a book; it’s all up here in my head, I just have to get it down on paper.
  5. So? I’ve written a hundred books; they’re all packed away in my closet.

Taking their lack of support in stride, you send out your opus to find you’ve reached another level of indifference. On this level, you are not the only person who had the discipline, the ability, perhaps even the talent to have written a good novel; you are one of hundreds of thousands, perhaps millions. And the agents and editorial assistants who have to plow through those mountains of words don’t care; they haven’t the energy.

If you are lucky, one day your manuscript will be on the right desk at the right time, but until then all you can do is what you’ve always done. You write.

Because, even though no one else knows the truth, you do. You are a writer, and even more than that, you are a novelist.

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