R.U.E — Resist the Urge to Explain

June 4, 2011 — Pat Bertram

There is a maxim in writing called R.U.E — Resist the Urge to Explain. Supposedly, if you show your readers the story rather than explaining it to them, it will allow readers to draw their own conclusions, thereby making readers a part of the story.

In some ways, my novel More Deaths Than One is a simple story. A man returns home after eighteen years in Southeast Asia to find the mother he buried before he left is dead again. Or rather, he finds her obituary in the morning newspaper, and when he goes to the cemetery, he sees a funeral party. He also sees someone who appears to be . . . himself. With the help of an unfulfilled and quirky waitress he meets in a coffee shop, he sets out to discover the truth.

Beneath that simple story lies the question of what makes us who we are. Is it our memories? Our experiences? Our natures?

And beneath that is the real story — a mythic tale of a man who reflects the people he meets back to themselves. This is the story I did not explain. I wanted readers to discover it for themselves, yet I’ve learned (by way of less-than-stellar reviews) that not everyone sees this story. One reviewer, who thought that the relationships were developed with too little explanation, couldn’t understand why the waitress would run off with someone she barely knew. I thought as readers got deeper into the story and noticed more of the characters seeing themselves in the hero (good guys saw good, evil guys saw evil, victims saw a fellow victim, the artistic saw the artist, the soulless saw a drone) that it would be apparent the waitress’s adventure-starved soul saw in him the fulfillment of her dreams. I guess not.

It’s too late to rewrite the story, and even if I could, I wouldn’t. But . . . here’s the question: should I have explained more? Should I have resisted the urge to resist the urge to explain?

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Scribbler’s Retreat Writers’ Conference

April 30, 2011 — Pat Bertram

Scribblers’ Retreat Writers’ Conference
St. Simon’s Island, Georgia
May 12-14, 2011

Through the years, the abundant beauty of the Georgia coast has inspired artists of every stripe, including poets, novelists and playwrights. You too can find inspiration on this beautiful island while enjoying fellowship with other writers and students. During the two-day conference, ten world-class authors, editors, publishers and other literary professionals will impart their own wisdom in a classroom setting.  Each conference begins with an Opening Ceremonies Banquet Thursday evening and ends with an Evening with the Authors cocktail reception Saturday evening. An added bonus — I’ll be there! As you can see, I am one of the speakers.

Phillip Margolin – How to Write a Novel in Your Spare Time 

June Hall McCash – Writing Historical Fiction

Victor DiGenti – Revving Up Your Narrative Drive

Dr. Anya Silver – Writing Poetry: The Enchanted Craft

Denise Tompkins – Effective Query Letter Writing

Ricki Schultz – Online Presence-Building, Made Easy

Jane Wood – Schools, A Niche Market

Pat Bertram – Creating Incredible, but Credible, Characters

Chuck Barrett – Who’s Point of View is It Anyway? How Not to Confuse Your Reader

 www.scribblersretreatwritersconference.org
800-996-2904
King and Prince Beach & Golf Resort

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Advice to Aspiring Writers

April 20, 2011 — Pat Bertram

I just got an email from my high school, requesting my participation in a Q&A for a magazine that goes to parents and alumni. The question they want a response to in 60 words or less is, “What advice would you give to aspiring writers?” Of course I said I’d participate. The only hard part is distilling ten years of research and experience into so few words.

I could go with a single word: “Write!”

I could be cynical and say, “Don’t write unless you have to. It’s a heartbreaking business.”

I could be business-like and say, “Learn everything you can about good prose, story elements, query letters, promotion, and publishing because the competition is fierce — millions of people have written a book want to write a book. But no matter what happens, keep writing.”

I could be philosophical and say, “Start with a single word. That’s how every book through the ages was written — one word at a time. By stringing single words together, you get sentences, then paragraphs, pages, chapters, an entire book.”

I could be more story-oriented and say, “Ask yourself: what story do you want to write? Why? What do your characters want? Why? How are they going to get what they want? Who is going to stop them getting what they want?”

I could plunge into the action and say, “Sometimes it’s hard to find the confidence to bring complex scenes to life, to juggle the many elements that comprise a compelling scene, so plunge headfirst into action. Write fast and fearlessly; let the words fall where they may. You can always clean up the mess in rewrites.”

So, what advice would you give to aspiring writers? What was the best advice anyone ever gave you? What was the most helpful advice you ever read?

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On Writing: Tell, Don’t Show

April 16, 2011 — Pat Bertram

In Description, Monica Wood commented: Don’t enslave yourself to showing. “Show don’t tell” is a guideline, not a rule. Sometimes telling is more effective and thrilling as long as the prose is interesting and engaging.”

As a reader, one of my pet hates is when one character is talking to another, and they retell the entire story up to that point, so as a writer, when I get to a place where one character has to tell another what the reader already knows, I write something like, “and Sam told Sally about the woman who tried to kill him and how he ran off instead of trying to find out who it was.” Avoiding repetition is one reason telling is so much better than showing at times. Makes the story move faster. Might not be immortal prose, but it moves the story along.

The worst offenders of the tell, don’t show suggestion are lawyer books. They spend the first half of the book laying out the story, then the second half repeating that story in a courtroom setting. If a reader can skip a whole slew of chapters and not miss a moment of the story, the writer has not done his or her job. If the writer wants to do the courtroom scene, then make sure what is shown is new. Otherwise, simply tell what went on in a few short sentence and get to the good stuff.

Another time telling is better than showing is if a scene has no conflict, no surprises, no twists. If a character sets out to do something and accomplishes it without any problems, then showing is a waste. Just tell it. Don’t build up to  . . . nothing.

A way to know if it’s better to show or to tell is to decide what you want to accomplish with a scene. If the immediacy of a scene is important, show it. If the reactions of a character who was not involved in the scene are most important, then it’s possible to have one character tell the other what happened and then show the character’s emotion.

When writing More Deaths Than One, I worried that I was cheating readers by doing the big disclosure  at the end via letter (in other words, telling), but the importance of the scene lay not in finding out the truth of who Bob was but in the different ways Bob and Kerry reacted to the truth. It was about them and their relationship more than the deeds themselves. It was also about the emotion of the person writing the letter and how that emotion bound all of them together. So basically, the letter was all about telling rather than showing the disclosure, and showing rather than telling the emotion it evoked.

When do you tell instead of show? (I mean you personally, not writers in general.) How do you make it effective and thrilling?

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Guesting at Grasping for the Wind!

April 11, 2011 — Pat Bertram

I am a guest blogger at John Ottinger’s Science Fiction Fantasy News and Reviews blog, Grasping for the Wind. Please stop by and say hi. It will be nice to have company. It’s my first blog appearance for Light Bringer, my first as a science fiction writer (though to be honest, I’m not sure I am).

I never set out to write science fiction, but a funny thing happened on the way to writing Light Bringer, which was conceived as a thriller debunking UFO myths. I was reading everything I could get my hands on about UFOs and UFO technology, when I came across Zecharia Sitchin’s idea of the twelfth planet. . . .

That’s how my guest post begins. Click here to read the rest of the article.

Thank you!! Your support has always been appreciated, especially now as I am beginning a new phase of my life.

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On Writing: Ruling Passions

April 5, 2011 — Pat Bertram
I once read the whole of Danielle Steele’s oeuvre as a research project. I wanted to see what in her books made her so popular. It was the most excruciatingly painful reading experience of my life. Her writing style is surprisingly amateurish, her characters are not well drawn, she tells and explains instead of showing, and she repeats herself as if she can’t remember from page to page what she’s already said.

But I did learn her secret. Her characters are passionate. They never like or dislike anything. They love and hate, but mostly love. “She ate a piece of cherry pie, and she loved it.” “They had sex, and they loved it.”

She also picks issues people are passionate about, and wraps her story around that, so not only do her characters have a ruling passion, so do her readers. When passions are all consuming, as they often are in her books, they create collateral damage. Maybe that is what makes her characters compelling — readers keep waiting for the train wreck.

And yet  .  .  .  all-consuming passions are not the only way to tell a story. Most of my characters aren’t particularly passionate about their ruling passions, but they do have strong motivations, such as a need to discover the truth, whether their particular truth or a more universal truth.
In A Spark of Heavenly Fire, all Kate wants is a good night’s sleep, but first she has to deal with the death of her husband, and then she has to contend with a state-wide epidemic. Although the forces that drive her are fairly tame, many of the characters in that book have stronger passions. Jeremy is consumed with getting out of quarantined Colorado. Pippi is first passionate about Jeremy, then passionate about escaping with him, and finally passionate about returning home. Dee is passionate about helping the homeless. Greg is consumed with the need for truth. The villain is passionate about his deadly little organism. Turns out the only non-passionate person is my heroine! Yet the story revolves around her.
In How to Write a Damn Good Mystery, James N. Frey tells us that our main characters, both the hero and the villain, should have a ruling passion. Alexander Pope, perhaps the first person to use the term “ruling passion,” wrote: “The ruling passion conquers reason still.”

Seems like an interesting conundrum here — a character must have a ruling passion, and a character should be smart  (or at least working to the best of his or her abilities) yet the ruling passion overrides that. Should make for a good inner conflict.

(This article was compiled from comments I made during a live chat. If you’d like to see the entire discussion, you can find it here: Ruling Passions — No Whine, Just Champagne Discussion #146)

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On Writing: Family

April 2, 2011 — Pat Bertram

If a character has well-defined family members — that never-satisfied mother, that demanding great-aunt, that silent father — then we authors don’t have to create that character. The family does it for us.

The family of Mary Stuart in Daughter Am I truly helped create her. When Mary found out that she was the heir of grandparents she never knew existed, she had to find out who they were so she could find out who she was. Once I set the family dynamic, that determined the character of Mary. Her father was close-mouthed, wouldn’t talk about why he disowned his parents or why he told his daughter they were dead. He also bonded more with his daughter’s fiancé than with her. The mother seemed to be mostly a shadow of the father. Because of this, it was inevitable that Mary got engaged to the guy they liked, and it was also inevitable that she dumped him when she became her own person. And even that “own person” was created by family — turns out she was just like her dead grandfather, with his set of values, a desire to build his own life despite social conventions, and an intense loyalty. Even her “adopted” family helped create her. As she followed her quest to learn about her grandparents, she accumulated a crew of travel companions — all friends of her grandparents — who become a new family of sorts.

Rubicon Ranch, the collaborative novel I’m doing with some other Second Wind authors, is all about family. The birth family who’s been searching for the girl and who fall prey to con artists, the couple who wanted a child so bad that they kidnapped one, the old man who suspects his son of the crime, the woman who suspects her father, the boy who is being abused by his father, the sleepwalker who is still haunted by his dead sister, the woman who is grieving for her dead philandering husband. It’s interesting how the theme of family has evolved in such an extemporaneous project. We never planned this theme, but each of us separately chose to deal somehow with family skeletons.

The family of Bob in More Deaths Than One certainly helped create him, especially since that was the basis of the story. He comes home from an 18-year sojourn in Southeast Asia to discover that the mother be buried before he left is dead again. He goes to her funeral and sees his brother, but they had never been close, so he doesn’t make contact. Bob also sees himself, but a doppelganger isn’t really family, so it doesn’t have any part of this discussion.

Lack of family also helps define characters.

In my just-published novel Light Bringer, two of my main characters found each other when they were searching for their birth parents. Those characters were truly a product of their upbringing and their birth. That is the whole crux of the story — who the characters are and why they were birthed.

How does your character’s family make her who she is? (Or make him who he is.) How do they bind her? How do they set her free? Do they add to her conflicts, either internal or external, or do they help her on her life’s journey?

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Light Bringer Has Finally Been Birthed!!

March 31, 2011 — Pat Bertram

It’s been twice nine months since Light Bringer was accepted for publication, but it has finally arrived!! Born on March 27, 2011, it weighs a mere one pound, and is 8.5 inches tall. Small for a human baby, but just the right size for a newborn book. I counted all it’s Ts and Os, and am pleased to announce they are all there. (One defect did show up, a tiny beauty mark, or rather a lack of one — for some reason, a period was left off on a sentence at the end of a chapter, and all the book’s midwives failed to notice). Still, the newborn is beautiful, and when it has been out in the world for a while, perhaps it will make its mark. It was created out of love, and no matter what its destiny, I am proud of my newborn.

If you would like a chance at winning an ebook of Light Bringer, go to the launch party on the Second Wind blog and tell them you would like to read the book. Leave your comment at: New Release Launch Party.

Click here to read the first chapter of: Light Bringer

Click here to read the back cover copy and an excerpt: Light Bringer

Click here to buy: Light Bringer

Light Bringer is also available from Amazon and Smashwords.

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What Do You Do With A Bad Review?

March 20, 2011 — Pat Bertram

I’ve been getting mostly good reviews for my books, so it came as a shock when I noticed that one woman on Goodreads downrated them. She rated more than 100 books, giving all of them five stars except for a couple of 4-star ratings and three 3-star ratings. And guess whose books were all rated three stars? Mine. I couldn’t understand it — first, because most people who have read my books like at least one of them, and second (and the point that really bothered me), if she didn’t like my writing, why read all three? Why not stop after one or two?

I’d never met the woman, only know of her because we have an acquaintance  in common — someone I met because of my books, not a pre-publication friend. “I doubt she read the books,” this acquaintance told me, “she couldn’t possibly have read them and not liked them; your books are fabulous,” which made the whole thing even more incomprehensible. 

Until . . .

I got a really bad 2-star review for A Spark of Heavenly Fire, which made those three stars seem benign:

Not a bad story…but but but. I love post-apocolyptic stories – but a common mistake authors fall into with it is to immediately lose the sense of horror – their characters hardly react to dead bodies piling up around them – Bertram did this from the get-go. And this book was so badly edited that it is astonishing. Someone made the author chop this up without any concern for the reader’s ability to follow the story and understand the characters…fortunately, I didn’t care enough about any of them to worry about it.
  
Made me doubt myself.  Did I lose the sense of horror? But I never intended there to be a sense of horror (or at least not a sense of ghoulish horror). Nor did I intend to write a postapocalyptic story, which shows you the danger of genre expectations. The whole point was the lack of  bodies. After the first dying, when people died in their cars causing a city-wide traffic jam, people stayed in their houses, so that is where they succumbed to the red death. The only way my characters knew of the continued dying were the orange fluorescent markings appearing on the doors of houses where people had died. To me, that was even more horrible than bodies piling up — just this one simple reminder that people were still dying. Even more horrific was the silent city with soldiers patrolling the streets. That would spook the hell out of me! And no, people would not continue to react to the horror. They would become inured to it. It would become the new normal. And how could the reviewer have missed the hellish scene when two of my characters discovered what was being done with the dead human bodies . . . and the bodies of beloved pets?

Besides, the story was seen through the eyes of a soul-dead nurse, a gung-ho reporter, a self-centered, world-famous actor, and a woman who had that star in her eyes. Would any of them have continued to react to the dying? I doubt it. Still, I did wonder. Should I have shown more bodies piling up?

Then . . .

I was out walking along a residential street yesterday, and there was not a single other person in sight. Not a single vehicle on the road. And I knew I was right. No one would see the bodies if all the people in those houses suddenly died. And maybe they had expired — I had no way of knowing.

So, what does one do with a bad review? Blog about it, of course!! 

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Searching for a Blog Identity

March 19, 2011 — Pat Bertram

The best blogs are those with a single focus, or so they say. At the beginning, I blogged about my efforts to get published. When my books were accepted for publishing and before they were released, I concentrated on having guest bloggers. After my books were published, I blogged about writing, promotion, and the progress of my current works (or rather the lack of progress). Then, about a year ago, my soul mate died, and this blog developed a dual personality — the almost dry articles about books and writing and the very wet and weepy articles about grief.

Now I need to decide where I want to go with this blog, to figure out what I want to say. Grief is still a part of my life and will be for some time to come, but I don’t want to be that woman — the one who hugs her sorrow and doesn’t seem to be able to move on. (To a great extent I have moved on. Only you and I know how much I still hurt.) Nor do I want to go back to focusing solely on writing and other literary matters. I’m not sure I have anything to say that hasn’t been said a thousand times before by people far more literate (and interesting) than I.

Even more than having a single focus, the best blogs are written by those who have a unique slant on a subject, who write what only they can write, who chronicle life’s journey in such a manner that the ordinary becomes extraordinary. But . . . it isn’t necessary to be a great blogger to get the benefits of keeping a web log.

In the past couple of years I’ve developed an interest in photography. I have a separate blog for photos — Wayword Wind — and I joined 365 Project, committing to taking a photo every day for a year. This project has helped to turn my focus outward. While walking, I tend to let my mind wander, and it generally wanders to what (or rather who) I have lost, so searching for that special image each day makes me more alert to my surroundings, to what is rather than what is not.

In the same way, blogging helps concentrate my thoughts, makes me more alert to my inner surroundings. Sometimes it seems as if I’m too full of myself, my posts a bit too pedantic, and yet it’s all part of my journey. Like this blog, I seem always to be in a state of flux, searching for some sort of identity . . .  or at least a focus.

If I ever find where I’m going, either with my life or with this blog, I’ll let you know.

Posted in blogging, life, writing. Tags: , , , , , , , , , , . 11 Comments »
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