CREATING A SERIES FOR NOVELISTS

Novels in a series are popular. Readers enjoy following the lives of characters they know and so they are eager to read the next novel. A series is usually based on a family or a town, and each novel introduces characters who will appear in the next novel and each novel also includes characters from the past novels in that series. So writing a series makes novel writing more complex.

The author must keep excellent records of the basic details and descriptions of the characters, homes, town buildings, and events in each novel, because readers will find discrepancies of the author veers away from the original story. Birth dates and dates when things happened need to be calculated carefully. Accuracy is the key.

A series is successful when the author follows a few basic steps to insure readers will enjoy each story as much as they did the first one. Here are a few things to keep in mind when creating a series.

• A series can be contemporary or historical or a combination. To add interest to a series, try a series that deals with a contemporary plot, and then step back in time and do the next one exploring the families past. This technique can help to explain issues that occurred in the contemporary novel and can set up new problems that will arise in the next book.

• Search some past novels that had a secondary character that intrigued you and has stayed in your mind. Begin with that character from the past and create a new series connected to that character, his or her family or friends.

• For a quality series that will hook readers, allow the characters in your first novel to grow and change in a realistic way that will intrigue readers so they want to know what will happen after the first book is finished.

• Set up a new series by creating an intriguing secondary character that arouses the readers interest and proposes possible issues that will arise in that character’s life for the next book. This is one of the most popular ways to create a series. You can use sisters, brothers, neighbors, friends, or members of an organization that you introduce casually to the readers in the first book and then allow them to have their own stories later.

• Expand your setting by opening the first book in the series in a specific town and then provide a reason for the secondary character of the next book to move or travel to another location for their own story. You can keep the characters is the first novel connected to the new story through phone, letters or emails.

• Be faithful to your own writing style and preferences. Your readers are drawn to your novels by certain qualities that you offer in your stories. Don’t lose sight of those elements when creating a series. Be true to you and your talent.

• Continue to write about things that interest you. When you’re enthusiastic about your writing project, the excitement will reach your readers. Let your research lead you into new ideas to broaden your concerns and involvements.

• Each novel must stand alone to make it a satisfying read for your fans. Don’t leave them hanging with big issues. You can set up an element that’s almost a throw-away thought or foreshadowing. Example: He realizes his job might be transferred to another state, but don’t let it happen. That can occur in the next book and will then affect the next story characters. Tie up the loss ends and give the readers a satisfying ending.

• Use critique partners or faithful readers to do a test run of each of the novel series to make sure that the facts are accurate and then new story is believable. Make sure your characters stay the same from book one to book two except for growth elements which are natural, but those should have happened in the previous book in most cases. Ask these readers for honest feedback.

If you follow these ideas, you can create a series that keeps readers happy and stimulates new ideas for your next book proposal.

Creative Prompt For Writers

I attended a writer’s mini-conference last week and Andy Meisenheimer, freelance editor talked about his blog, called Story Praxis, that encouraged creative thinking and writing for authors to get them using a two-word prompt to start a story.

Praxis is an ancient Greek word that today means: process by which a theory, lesson, or skill is enacted or practiced, embodied and/or realized. This two word prompt stimulate the imagination, allowing the author to go somewhere new and different, to try new techniques such as first person or present tense and to try a new genre. The prompt asks the author to write for ten minutes without stopping, without analyzing or plotting. Just let the words flow.

I found this stimulating since it took me away from my genre and delving into a story line that would not be one I’d normally select. That day the prompt words were: Two children. This is what I wrote, and remember I had no time to edit, no time to think, and no plot in mind. I just grabbed a pen and legal pad.

Story Praxis
Aimee rose from the park bench and sauntered toward the playground. Two children had captured her attention, and why? The answer caught in her throat. One child appeared blind, and the other—younger, she guessed—had become a caregiver.

Nearing the swings, Aimee faltered, then stopped and listened to the older child ask about the color blue.

The seeing child looked heavenward. “Blue is the color of the sky.

“But what’s the sky look like?”

Gazing above their heads, Aimee pondered the question. Air. The sky was air and puffs of clouds. Curious, she stepped closer and slide onto a swing—too low for her—but she didn’t care. The children’s voices rang clearer.

“Do you feel the wind?” The sighted child held up her hand. “That’s the sky.”

The older girl reached out holding her hand palm up as if she’d found a treasure. “And this is blue?”

The sighted child nodded. “And water, too. It’s blue.”

So What Does This Mean?
That’s as far as I wrote in the five minute prompt time, but I found the exercise intriguing. The writing isn't great, but it's an unexpected approach for me. Why did I choose a blind child? Why was she the older? Who is Aimee?  I don't have the answer, but that's where the prompt took me. I'm curious where the rest of the novel would go. As a seasoned novelist, if found value in this exercise. I realize many untapped stories could be hidden in my creative mind. I only need to dig them out.

If you’d like to experiment with the Story Praxis, visit Andy’s blog at: http://www.storypraxis.com/tag/prompt  and rRead the word he provides and follow his guidelines. I think you’ll see the value of the task and surprised at how it stimulates creativity. It also offers you the opportunity to publish your prompt online and a possibility to be published in the Story Praxis Magazine.

Andy freelances and also edits for The Editorial Department, founded by Renni Browne, coauthor of Self-Editing for the Fiction Writer, http://www.editorialdepartment.com/ that offers full service consultations, critiques and edits to writers.

Grabbing Readers And Hanging On

Authors use all kinds of phrase that means the same thing. Grab the reader, hook the reader, create a page-turner, or write a keeper. Obviously all of these phrase mean an author wants to engage readers to the point that they can’t put down the book and once it’s finished, they can’t let it go. They put in on their bookshelves, often not loaning them to anyone, in case the borrower doesn’t return them. Writing a Keeper is what each author wants to do.

So then, the question is how do you write a book that grabs the reader and hangs on? A book is a keeper, first, when the story relates to the reader’s experiences. When they can say, I’ve been there, I’ve done that, I’ve felt that. Next, the book is a Keeper when the reader relates so well to the characters he wants to continue reading their story. I’ve received many letters from readers, and hopefully you have to, when they ask if I’m going to continue the story in another book. I’ve even had a reader write and ask me if Annie and Ken ever had a baby and how was Grandma Ellie’s health now. These were all story characters. I laugh but then I am flattered that the reader loves and remembers these characters as real.

Writing a Keeper means you will need to analyze your novel by story elements and ask yourself questions. The story premise or theme is the first, followed by characters, plot, and setting. Here are some thing to ask yourself.

Premise, Theme, or Message
• Is your premise realistic and yet special? Have you added a twist or a surprise?
• Does the theme or message tug at the readers emotions? If a reader laughs or cries you’re on the right track to a keeper novel.
• Is the message or theme strong and meaningful? Does your novel tackle realistic problems and issues that people face in their own lives? Does the resolution make a significant difference in the lives of the main characters?
• Does the theme or message cause readers to relive times of their own lives or offer them experiences they’ve always wanted but have never experienced.
Identify the main theme or message in your novel and review it against these questions. If you find a weak area, ask yourself what you can do to make it more meaningful and realistic

Characters
• Do your main character reflect real life people not stereotypes? Do they have admirable qualities as well as flaws?
• Are they vulnerable—showing weaknesses common to others? Are they strong despite their vulnerability?
• Do they have goals that are significant and important to others as well as themselves.
• Are their motivations realistic? Did you create a past with their strength and weaknesses documented by life experiences and their upbringing? Family, friends, talents?
• Are the character’s realistic and consistent in their emotional and psychological attributes?
• Do the characters have realistic fears and phobias that are their nemesis?
• Are these qualities your reader can relate to?

Plot
• Are the character’s goals and motivation clear and meaningful to readers? Is this something to which readers can relate?
• Are the character’s behaviors and attitudes psychological realistic and are the story problems real?
• Does the story open in a dynamic way that grips the reader from page one?
• Is backstory used to build characterization but not plopped in the first pages of the story?
• Does the plot allow the reader to participate—to speculate, to cheer, to warn?
• Does the story keep moving with good pacing—a few slower moments for readers to digest what’s happening and then moves ahead with dynamic action?
• Does the plot reinforce the theme or message of the story?

Story Setting
• Why did you chose this setting? How can it be used to add deeper meaning to your story?
• Does the setting enhance the plot?
• Does the setting create nuances in the characterization—added stress, feelings of home or loss?
• Does the description bring the setting to life?
• Do the setting aspects relate to the story’s mood, heighten emotion, and serve a purpose beyond offering a sense of place?

If you can answer these questions with positive answers, wonderful. If you find that you need to make changes, then do so. The more realistic and compelling these four elements of your story, you will create a page-turner, a book that grips the reader and one they want to keep.

Building a 3-Dimensional Hero Using Core Personalities - Part II

After digesting the personalities of the four core types from Terrance Real’s book How Can I Get Through To You, you can see the opportunities to build some interesting characters and create dynamic conflicts. Consider plotting a thriller where two elitists are on opposing forces or plotting a romance with the one character being a feeler and the other an analyzer. Put two drivers together in a story built around a family dynasty. Conflict is brewing in any of those scenarios.

To add to the total character, you will take the basic core personality and add a past that will help the reader understand why one person is driven, why another lives with self-importance, and another can only find a positive in the most negative situation. You are a mix of genetics and experience, and to help readers believe in your characters and find them compelling, you must develop them just as you have become who you are. Again remember that your past (backstory) is made up of a multitude of elements: upbringing, family discipline, education, religious attitudes, health issues, birth order, family dysfunctions, successes and failures, location (south/west/north/east or rural/urban) and income.

As you build these core personalities, begin thinking how these characters will dress, their language and diction, their manner of responding and reacting to situations. You can see that each will be different.

The feeler will speak in a more flowing language using animation. The language could be more poetic, using alliteration and similes. He will emphases the good and avoid talking about the bad. A woman might dress more colorfully, more gussy jewelry, more ruffles. A man might take more chances in trying something new, fads or something outside the box.

The driver will speak in shorter, emphatic sentences. He doesn’t waste time. He wants to get to the nitty gritty of the topic. No flowery language for him. He is organized in both his speaking and in his apparel. He dresses for the situation, but clothes aren’t his concern. Getting things done and accomplishing his goal is.

The analyzer will be thoughtful in his speech and will not waste words. He will ponder the words and won’t speak until he’s thought the situation through to come up with the best response. He will ask question, dig deeper, and not be afraid to pry. He expects answers. He will dress conservatively. He wears basic appropriate clothing for the occasion and doesn’t take chances in style. He prefers tradition.

The elitist will use a large vocabulary and good grammar. He’ll speak clearly and decisive as if what he says is truth whether it is or not. He will stand back and observe rather than jump into a mundane conversation. He could be a name dropper both in style of clothing but also in who he knows. His apparel will be influenced by the situation. At a black tie dinner he will wear a designer tuxedo, but he’s not afraid to be his own person and make others think it is appropriate. They will sometimes follow his lead, thinking if he can do it maybe it’s the best way to dress. No matter what he wears, he will stand out in the crowd.

As you way these characters and their interaction, notice how conflicts can easily arise depending on their roles in your novel. Don’t always make the boss the elitist. An employee could outshine the owner and bully him, if he’s not confident in his role. You set the scenario. Although we often think of women as the feeler, try this attribute on a man. Don’t make him effeminate, but make him care and show he does. By working with core personalities, you can create some unexpected characters with compelling conflicts.

And finally remember that your characters will change from the beginning of the novel to the end. Even two elitists who battle face to face will cause one to change. Perhaps he realizes that his elitism is only a cover for what he thought he lacked in his past, and he walks away from the battle feeling he is a winner. The driver who falls in love with a feeler can learn that he’s destroying his changes for happiness by thinking success in his business is the most important thing in his life. He learns that loving and being loved is the ultimate happiness.

With these techniques, you will create dynamic believable characters.

A Take on Cliches

My attention was drawn to a blog from author and speaker, Leslie Wilson, who cautions writers about using cliches. These are overworked phrases that are trite andscream "weak writing" to editors. While the message is important, her article is funny since she's written the entire thing in cliches. It will give you a taste of why cliches detract from a fresh writing style. If you'd like to read No Really: Kill Your Cliches, hit the link below and get a chuckle as well as a great understanding of why not to use cliches.

http://www.marydemuth.com/2011/04/no-really-kill-your-cliches/