Wohoo! Violet Dawn is #1 on Technorati Popular Books!

And...Praise the Lord, I made it to Friday...sanctuary, sanctuary...uh, er...well you had to be there! My buddy Mimi Pearson is moving today...not her blog or anything, but into a new house...Her and Dave bought their own house ! Wohoo...this is their dream come true! Congratulations my friends!

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

Okay, so what happens when you have to shift your point of view for the sake of the plot? If say, your writing from the cop's point of view and you need to add in the burglar? How do you change the POV without jerking your readers around?

It's quite simple: end the current scene, insert a linespace, and start a new scene from the POV you need. Linespaces prepare readers for a shift( in time, place, or POV), so the change in the POV won't catch them by surprise.

Once you've mastered your control of narrative distance, you can use it for some stunning effects. Of all the means available to you for crafting your story, POV is one of the most fundamental. It is how you show who your characters are. It allows you to convey emotions that often can't be put across in any other way.

POV is a powerful tool! Master it!

CHECKLIST:

Which POV are you using and why? If you want continuing intimacy, are you using the first person? If you want distance, are you using third person, or omniscient?

Do you move from head to head? If so, why? Would your story gain power if you stuck with a single POV character or broke your scenes up at appropraite places with linespaces to make this possible?

Take a look at your language. Is it right for your POV character? If not, should it be?

Look at your descriptions. Can you tell how your POV character feels about what you're describing?

Monday, we'll start on Proportion...have a great weekend! Enjoy some more ways to make people annoyed!

Begin all your sentences with "ooh la la!"

ONLY TYPE IN UPPERCASE.

only type in lowercase.

Dont use any punctuation either

Buy a large quantity of orange traffic cones and reroute whole streets.

Pay for your dinner with pennies.

Tie jingle bells to all your clothes.

Repeat everything someone says, as a question.

Write "X - BURIED TREASURE" in random spots on all of someone's roadmaps.

Inform everyone you meet of your personal Kennedy assassination/UFO/O.J Simpson conspiracy theories.

Repeat the following conversation a dozen times: "Do you hear that?" "What?" "Never mind, its gone now."

Light road flares on a birthday cake.

Wander around a restaurant, asking other diners for their parsley.

Leave tips in Bolivian currency.

Demand that everyone address you as "Conquistador."

Hey, we made it to Thursday. All I can say about that it...Tomorrow, tomorrow...is only a day away. Now if I could figure out how to put musical notes to that, I might be in business. LOL!

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

The day before yesterday, we were talking about first-person POV, now we're moving to the other end of the spectrum to the omniscient POV. Instead of being written from inside the head of one of your characters, a scene in the omniscient point of view is not written from inside anyone's head.

So you can see the whole scene from the sidelines. Note that with the omniscient voice what you gain in perspective you lose in intimacy.

then there is third person. If a first person invites intimacy and the omniscient narrator allows for perspective, the thirsd person strikes a balance between the two! Actually it can strike any number of balances...it's the attempt to define precisely these various degrees of intimacy versus perspective that leads to describing twenty-six different flavors of POV.

It's much less complicated to simply treat the third-person POV as a continuum, running from narrative intimacy to narrative distance.

Okay...so what the devil does that mean...I ask myself?

It means that when you describe your settings and actions using only words from your POV characters vocabulary, you're not only telling the readers the facts, but but you're running those facts through your POV character's history and sensibility.

On the other hand, when the voice of your descriptions is more sophisticated, more verbose, perhaps more acutely observant that your POV character can manage, you've put distance between the two!

It is worth noting that, because the emotional connection between your reader and your POV character builds slowly, it's usually a good idea to establish the POV as quickly as possible...in the first sentence of the scene if you can manage it.

whe you make the POV clear at the beginning of a scene, you get your readers involved right away and let them get used to inhabiting your viewpoint character's head.

Enough work for today...have a laugh! Here's ten things you could do to annoy people!

Set alarms for random times.

Order a side of pork rinds with your filet mignon.

Instead of Gallo, serve Night Train next Thanksgiving.

Publicly investigate just how slowly you can make a "croaking" noise.

Honk and wave to strangers.

Dress only in clothes colored Hunters Orange.

Change channels five minutes before the end of every show.

Tape pieces of "Sweating to the Oldies" over climactic parts of rental movies.

Wear your pants backwards.

Decline to be seated at a restaurant, and simply eat their complimentary mints by the cash register.

And last but not least, yesterday I gave you the first book in Brandilyn Collins' next series of SeatBelt Suspense, Violet Dawn, from the Kanner Lake series..."Don't forget to breathe..."

Today...I give you...THE MAZE. And I will bet you a dollar to a doughnut...that you can't get any farther than I did *snort*

Leave me a comment and let me know *snort* how you did!

Well folks, it must be Wednesday. From September 27th thru the 29th, the Christian Fiction Blog Alliance presents Violet Dawn by Brandilyn Collins.

Violet Dawn, which released in August of this year, is published by Zondervan and is part of Brandilyn's new Kanner Lake series. There are two other books to come...Coral Moon, releasing in March of '07, and Crimson Eve, releasing in September of '07.

You must also stop by and visit Scenes and Beans, the REAL blog for the fictional Java Joint coffehouse in Kanner Lake.

This is a unique marketing tool for the series, involving about 30 other
writers (including several of our CFBA members), and eventually involving readers of the series who want to audition posts.

Now, I've made you wait long enough. The book is classic Brandiln Collins Seatbelt Suspense. It grabs you from the very beginning...

Something sinuous brushed against Paige's knee. She jerked her leg away.

What was that? She rose to a sitting position, groped around with her left hand.

Fine wisps wound themselves around her fingers.

Hair?

She yanked backward, but the tendrils clung. something solid bumped her wrist. Paige gasped. With one frantic motion she shook her arm free, grabbed the side of the hot tub, and heaved herself out.

I'm telling you that this is suspense at it's finest! Brandilyn has a group of friends that she affectionately calls the Big Honkin' Chickens Club, because the women in the group are unnerved by Brandilyn's writing. This new series is a prime example of that kind of work!

Paige Williams slips into her hot tub in the blackness of night...and finds herself face to face with death.

Alone, terrified, fleeing a dark past, Paige must make an unthinkable choice.

In Violet Dawn, hurtling events and richly drawn characters collide in a breathless story of murder, the need to belong, and faith's first glimmer. One woman's secrets unleash an entire town's pursuit, and the truth proves as elusive as the killer in their midst.

You can go HERE to read a first chapter excerpt. But using Brandilyn's famous tagline....."Don't forget to breathe..."

First off...For the young lady that emailed me with the question...No question is dumb, if you don't know the answer! And if I didn't explain to your satisfaction, you are free to email me again :-)

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with Point Of View.

Some writing books distinguish as many as twenty-six different flavors of POV, but there are really only three basic approaches: first person, third person, and omniscient.

The first person is the "I" voice, where all the narration is written as if the narrator were speaking directly to the readers. ("I knew as soon as I entered...")
Note that in first person the narrator is one of the characters, not the writer.

The first-person POV has a number of advantages, the main one being that it gives your reader a great deal of intimacy with your viewpoint character. When you are writing in the "I" voice, your main character effortlessly invites your reader into his or her head and shows them the world through his or her eyes.

Of course, in order to succeed in first person POV, you have to create a character strong enough and interesting enough to keep your readers going for an entire novel, yet not so eccentric or bizarre that your readers feel trapped inside his or her head.

But realize, what you gain in intimacy with the first person...You lose in perspective! You can't write about anything your main character couldn't know, which means you have to have your main character in the spot whenever you want to write an immediate scene...This can limit your plot development possibilities!

Also in one POV, your readers get to know only one character directly. Everyone else is filtered through your viewpoint character. One way around this is to write in the first person but from several different viewpoints...With different scenes done from inside the heads of different characters.

This technique can be highly effective in the hands of an experienced writer. For example, over the course of Sol Stein's The Best Revenge, first-person sections are written from the POV's of six different characters. And Mary Gordon devotes the last section in the Company of Women to first-person accounts by all the major characters in turn.

And now for a joke!!!!!

Two high school sweethearts who went out together for four years in high school were both virgins; they enjoyed losing their virginity with each other in 10th grade.

When they graduated, they wanted to both go to the same college but the girl was accepted to a college on the east coast, and the guy went to the west coast. They agreed to be faithful to each other and spend anytime they could together.

As time went on, the guy would call the girl and she would never be home, and when he wrote, she would take weeks to return the letters. Even when he emailed her, she took days to return his messages.

Finally, she confessed to him she wanted to date around. He didn't take this very well and increased his calls, letters, and emails trying to win back her love.

Because she became annoyed, and now had a new boyfriend, she wanted to get him off her back. So, what she did is this: she took a Polaroid picture of her, in let's just say, a very compromised position with her new boyfriend! And sent it to her old boyfriend with a note reading, "I found a new boyfriend, leave me alone."

Well, needless to say, this guy was heartbroken but, even more so, was perturbed. So, what he did next was awesome. He wrote on the back of the photo the following, "Dear Mom and Dad, having a great time at college, please send more money!" and mailed the picture to HER parents.

Have a great day!

We're back to the start of another week! I hope you all had a great weekend. My internet genius friend Bonnie Wren is flirting with making her own version of the movie, Arachnaphobia...Mwhahaha!

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with exposition.

Everything we've said about characterization applies to exposition as well. Backgroung, backstory, the information your readers need in order to follow and appreciate your plot...all these should be brought out as unobtrusively as possible.

The most obtrusive type of exposition is, of course, a long discourse in the narrative voice. The same thing holds true for interior monologue.

Perhaps the toughest expostion challenge is introducing your readers to a new culture. This could be something as simple as conveying everyday life in rural Tennessee to readers who may live in Palm Beach (or visa versa). How do you transport your readers to strange new worlds without loading down your opening with a lot of expostion?

Bear in mind that this kind of background is really characterization, only what's being characterized is a culture rather than a person. and as was the case with characterization, readers can best learn about your locations and backgrounds not through lengthy exposition but by seeing them in real life.

CheckList:

Look back over a scene or chapter that introduces one or more characters. How much time, if any, have you spent describing the new character? Are you telling us about characteristics that will later show up in dialogue and action?

How about character histories? How many of your characters' childhoods have you developed in detail? Can some of these life stories be cut?

What info (technical details, past histories, backgrounds) do your readers need in order to understand your story? At what point in the story do they need to know it?

How are you getting this information across to your readers? Have you given it to them all at once through a short writer-to-reader lecture?

If the exposition comes out through dialogue, is it through dialogue your character would actually speak even if your readers didn't have to know the information? In other words, does the dialogue exist only to put the information across?

You've done good today...enjoy an oldy but goody joke! See ya' tomorrow!


The strong young man at the construction site was bragging that he could outdo anyone in a feat of strength. He made a special case of making fun of one of the older workmen.

After several minutes, the older worker had enough. "Why don't you put your money where your mouth is," he said."I will bet a week's wages that I can haul something
in a wheelbarrow over to that outbuilding that you won't be able to wheel back."

"You're on, old man," the braggart replied. "Let's see what you got."

The old man reached out and grabbed the wheelbarrow by the handles. Then, nodding to the young man, he said, "All right, put your boney butt in the wheelbarrow!"

You may notice a little box with a red x on the left sidebar...Well Blogger has absconded with the logo for the Christian Fiction Blog Alliance. You can still click the x to go there or just use the link on the top NavBar. We hope to have it back soo...sorta' like a "Where's Waldo" thing!

Whoa! It's Friday already! For all of the CFBAer's, I can't check on the stats for Something That Lasts. Technorati had a major meltdown Thursday morning, and as of this posting at 2:30 AM Friday, it is still off line. The last time I saw it we had 53 links to the book!

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Let's continue with characterization.

Some writers take a more subtle approach than simply describing a new character's personality...they describe each new character's history. In the course of the story, they may even trace theri characters' ancestry back two or three generations. It is perfectly understandable that a writer should undertake this sort of historical characterization.

Delving into a character's past can be a good way for you to understand the character in the present. but htough it may have been helpful for you to write a character's history...it may not be necessary for your readers to read it!

One you understand a character well enough to bring him or her to life, we don't have to know where the character came from.

So how do you go about establishing a charater gradually and unobtrusively? This topic could make a book in itself, but there are some techniques that fall within the area of fiction mechanics.

Have one character characterized by another instead of by the writer.
Develop your characters through dialogue.
Another way is to develop a character is to write not about the character directly but about other matters from that characters viewpoint.

Next week we'll start on Exposition. Have a great weekend. In light of the lasted fiasco with Blogger, checkout the joke!

Jesus and Satan were having an on-going argument about who was better on the computer. They had been going at it for days, and frankly God was tired of hearing all the bickering.

Finally fed up, God said, "THAT'S IT! I have had enough. I am going to set up a test that will run for two hours, and from those results, I will judge who does the better job."

So Satan and Jesus sat down at the keyboards and typed away.

They moused.

They faxed.

They e-mailed.

They e-mailed with attachments.

They downloaded.

They did spreadsheets!

They wrote reports.

They created labels and cards.

They created charts and graphs.

They did some genealogy reports

They did every job known to man.

Jesus worked with heavenly efficiency and Satan was faster than hell.

Then, ten minutes before their time was up, lightning suddenly flashed across the sky, thunder rolled, rain poured, and, of course, the power went off.

Satan stared at his blank screen and screamed every curse word known in the underworld.

Jesus just sighed.

Finally the electricity came back on, and each of them restarted their computers.

Satan started searching frantically, screaming: "It's gone! It's all GONE! I lost everything when the power went out!"

Meanwhile, Jesus quietly started printing out all of his files from the past two hours of work.

Satan observed this and became irate.

"Wait!" he screamed. "That's not fair! He cheated! How come he has all his work and I don't have any?"

God just shrugged and said...

JESUS SAVES.

Whoa! It's Thursday already! This week we're reviewing Something That Lasts over at the CFBA, so that's why you didn't get a lesson post yesterday.

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Today we're going to work on characterization and Exposition.

A lot of writers seem to feel they have to give their readers a clear understanding of a new character before they can get on with their story. They never bring a character onstage without a brief personality summary. Or else they introduce their character with flashbacks to the childhood scenes that made them who they are...In effect, psychoanalyzing the characters for their readers.

It's often a good idea to introduce a new character with enough physical description for your readers to picture him or her. As with describing your settings, all you need are a few concrete, idiomatic details to jump-start your readers' imagination. ("A good-looking man in his fifties," for instance, is too vague to be interesting.)

The show-and-tell principle underlies many of the self-editing points we'll talk about from now on!

Another reason to avoid thumbnail character sketches is that the personality traits you tell us about when you introduce a character will (we would hope) eventually be shown by the way the character behaves in the story.

Also when you sum up your characters, you risk defining them to the point that they're boxed in by the characterization with no room to grow. You may be setting boundary lines that your readers will use to interpret your characters' actions through the rest of the book.

But if you allow your readers to get to know your characters gradually, each reader will interpret them in his or her own way, thus getting a deeper sense of who your characters are than you could ever convey in a summary.

Finally, for today...Sketching out your characters for your readers is just plain obtrusive. It's a form of telling that is almost certain to make your readers aware that you the writer are hard at work!

Here's something to make you laugh!

A mighty fire had been raging at a Texas oil refinery. Fire engines from all around had tried in vain to get close enough to the fierce blaze to put it out, but the heat was so intense that no one could even get near the burning oil and gas. Hundreds of fire trucks from far and wide had been called and now they all just sat wondering what to do.
Suddenly, an old fire engine from a tiny fire company appeared in the distance. It was the only truck from a tiny town and had been driving all night in response to this alarm. To the amazement of all of the firemen, the tiny truck sped right past the other fire engines and came to a leisurely halt right at the base of the fire. The men in the tiny truck leaped out, doused themselves with water from their own hoses, and proceeded to extinguish the fire.

The next day at an awards ceremony for the 6 heroic men of the tiny fire company, the Governor presented the fire chief with a check for $20,000.

"What do you think your fire company will do with such a large amount of money?", asked the Governor.

"Well," replied the old fire chief, "the first thing we're gonna do with it is fix the brakes on that old truck!"

Well friends it's time for another blog tour for the Christian Fiction Blog Alliance. This week we're reviewing Something That Lasts published by Integrity, May 2006.

It is the first novel written by James David Jordan.To quote James, "I was tired of Hollywood and the popular press treating adultry like a harmless frolic, while Something That Lasts is a positive, hopeful book, it also paints a realistic picture of the devastating impact that adultery has on families and children."

The main character of the novel is David Parst, a gifted preacher with a knack for marketing. His innovations propelled his little church to regional prominence. At the age of 42, he had been named one of the fifty most influential leaders in the area.

Everybody had something to say about this man, including Ted Balik, who rose during a Sunday evening service and pointed a finger. "The Bible says, 'Those who sin are to be rebuked publicly...That's why I'm here tonight to rebuke the biggest sinner of all: our own preacher!"

And with a temptation in a moment of weakness, that single bad choice, David Parst leaves a trail of ruined lives, a scandalized community, and his wife, Sarah, and son, Jack, destroyed.

Shattered and separated, the Parsts embark on a quest to regain their faith, their hope and their family.

Jordan uses a very interesting tool in this book. The background of baseball and its rules serve as a metaphor for the fundamental principles of faith. The family's enjoyment of the game...and their pursuit of something that lasts...leads them to discover that faith is all they ultimately need.

Today we are continuing editing lessons from the book Self-Editing for Fiction Writers by Renni Browne and Dave King.

These lessons will be shortened overviews of the chapters and by no means should be a substitute for buying the book. I'm rereading but not posting a lot of good stuff!

Yesterday I left you with the phrase, "Remember to R.U.E."

Up to this point we've been talking about showing and telling on the large scale, about narrating what should be shown through immediate scenes. But even within scenes there are ways in which you may tell what you should show!

From the Gatsby: The three Mr Mumbles leaned forward "eagerly", that one girl spoke with "enthusiasm", that a man nodded "in affirmation".

Granted, stylistic conventions have changed since 1925, but even so, the telling detracts because it's not needed. We've already been shown what the writer proceeds to tell us.

Telling your readers about your characters' emotions is not the best way to get your readers involved. Far better to shoe why your characters feel the way they do. Instead of saying "Amanda took one look at the hotel room and recioled in disgust," describe the room in such a way that the readers feel that disgust themselves.

You don't want to give your readers information. You want to give them experiences.

It's more work that way, of course. It's easier to say, "Erma was depressed" than to come up with some original bit of action or interior monologue that shows she's depressed. Like if you have her take a bite of her favorite cake and push the rest away...or polish off the whole cake. Everyone has a unique way of expressing emotion.

It's nearly always better to resist the urge to explain. Or as editors so often write in the margins of manuscripts, R.U.E.

Here's a joke to end the leson!

Neglected Bills

Abe and Esther are flying to Australia for a two-week vacation to celebrate their 40th anniversary. Suddenly, over the public address system, the Captain announces, "Ladies and Gentlemen, I am afraid I have some very bad news. Our engines have ceased functioning and we will attempt an emergency landing. Luckily, I see an uncharted island below us and we should be able to land on the beach. However, the odds are that we may never be rescued and will have to live on the island for the rest of our lives!"

Thanks to the skill of the flight crew, the plane lands safely on the island. An hour later Abe turns to his wife and asks, "Esther, did we pay our $5,000 PBS pledge check yet?"

"No, sweetheart," she responds.

Abe, still shaken from the crash landing, then asks, "Esther, did we pay our American Express card yet?"

"Oh, no! I'm sorry. I forgot to send the check," she says.

"One last thing, Esther. Did you remember to send checks for the Visa and MasterCard this month?" he asks.

"Oy, forgive me, Abie," begged Esther. "I didn't send that one, either."

Abe grabs her and gives her the biggest kiss in 40 years. Esther pulls away and asks him, "What was that for?"

Abe answers, "They'll find us!"