Jealousy

Envy
Originally uploaded by Moochin Photoman

A number of years ago, before I'd published any of my work, I formed an Internet 'friendship' with another speculative fiction writer. Not only was she a wonderful author, she was a terrific editor who gave me many insights and useful suggestions. A few months after we'd begun exchanging e-mails, my friend sold her first short story to Marion Zimmer Bradley's Fantasy Magazine.

I was devastated.

Don't get me wrong. I was very happy for my friend. Her story was , and she deserved to have it sell. But, like I said, at that time, I had not yet published anything. And it wasn't for a lack of trying. So seeing her story printed in one of the best fantasy magazines of its time was a terrible blow to my ego.

Because publishing is such a competitive field, professional jealousy is an occupational hazard. Sometimes it's due to frustration; having other people succeed where we've failed is irritating! At other times, the cause might be what we perceive as limited resources. That is, we tell ourselves that because our friend has published a story (gotten an agent, won an award), there is now one less slice of the pie for us. Or it just may be that when we look at another's success, we see ourselves as failures.

Jealousy terrible thing. It can not only break apart our friendships, it can also destroy us as well. If you are faced with a situation in which you are envying another person's success, take a few minutes and ask yourself:

- Is my friendship more important that my feelings of jealousy?
- Is my jealousy blinding me to my own successes?
- How would I want my friend to treat me if I were successful?
- How much success is enough? Will I ever be satisfied with my accomplishments?

Best selling author, Jennifer Cruise, has a self-test about professional jealousy along with a few great suggestions on how to beat it.

In the case of my friend and me, things didn't turn out the way I expected. Not long after my friend sold her story, I sold one as well. And then I sold another. And another. But my friend, who had been dealing a lot of stress in her family and personal life, stopped writing. After a while, she dropped out of the writing scene altogether.

And that's a shame because she really was a terrific writer.

Michigan Author

Usually, I feel like a poser. That is, I feel like a person who is pretending to be a writer. Yes, I have an office and a laptop. On my shelves is a copy of my novel and magazines that have printed my stories.

But, in my heart, I don't feel like a writer. Probably this is because there are so many things I don't have: an agent, a New York city publisher, a monthly royalty check that covers my bills.

Yet sometimes, I brush up against the feeling that, yes, I guess I am a writer. Today is one of those days. I'm now listed on the State of Michigan's official 'Authors and Illustrators' web page.

I may not have enormous royalty checks, but - by golly - I am government approved.

The Versatile Semicolon

edamame
Originally uploaded by Adrasteia9

Recently, I took one of those silly FaceBook quizzes entitled, "What Punctuation Mark Are You?" I, apparently, am a semicolon.

I actually took that as a compliment because semicolons are wonderful, versatile little things. Kind of like shelled edamame (which are my current favorite veggies). But, like shelled edamame, if you aren't accustomed to using them, they can seem strange. Sure, we writers are used to periods and exclamation points. But semicolons? How do you use these strange, little things?

A semicolon works much like a period does. That is, it separates two independent clauses. So, for example, below are two independent clauses (clauses that contain a subject and a verb and can stand on their own):

- yesterday, my dog stole my lunch
- today, the cat did the same thing

If you wanted to put these two independent clauses into a single sentence, you could simply add a conjunction:

- Yesterday, my dog stole my lunch, and today the cat did the same thing.

However, you could also use a semicolon.

- Yesterday, my dog stole my lunch; today, the cat did the same thing.

I like semicolons because I think of them as kind of a setup for a punchline. It's as if they are saying, "Here's a sentence...but wait! There's something more." Semicolons just seem to add that extra bit of (very) dry humor to the sentence:

- My kids ate birthday cake for dinner; I nibbled lettuce.
- He couldn't figure out why he'd gotten a speeding ticket; he'd only been going 100 mph.
- Susan didn't mean to hit the neighbor with the rotten tomato; she was aiming for her ex-husband.

One thing to remember: a semicolon links two clauses that somehow relate to each other or build on the same message. Therefore, this is okay:

- The student didn't want to do his homework; he was too tired.

But this sentence is not:

- The student didn't want to do his homework; the woman went to the grocery store and bought soap.

Semicolons are cool! If you don't believe me, check out The Oatmeal.

New Year; New Resolutions

Champagne
Originally uploaded by fuzuoko

Now that the new year has arrived, I find that I must do something about the resolutions I made on December 31 (after a few too many glasses of champagne, I might add.) One of those resolutions - maybe the hardest one - was do something with this blog.

Something...anything!!

Looking back, I see that I made a huge mistake when tackling the blog thing. That is, the name. The very sight of it makes me cringe: Writing Advice for the Absolute Newbie... What was I thinking? After all, I'm the newbie!

Because of the obnoxious title, I beat my head against the wall every time I want to create a post. I feel a great deal of pressure to give all of this wonderful advice when, the truth is, I don't have a clue about what it takes to be a highly successful writer. After all, if I did, I'd be on the NYT best seller list.

But beyond all of that, I do enjoy blogging. Mostly because I like writing in any form. But there's also the added bonus of seeing that I have 'followers' (which is a strange word to use since it makes me feel like a cult leader or something.) I also love the comments people leave (the nice ones anyhow). And I love reading your blogs as well!

So the blog - despite it's wickedly pretentious name - continues on. More than likely without much advice.

Unless I drink too much champagne, that is.

First Rights

If you're lucky enough to have published a piece of fiction, you've certainly signed a contract with the publisher. Whether your piece was a short story or a novel, a poem or an editorial, you gave the publisher permission to be the first one to print your work in his or her publication.

Whenever this happens in the U.S., Canada or Mexico, the author has signed away her first North American serial rights (fnasr) to the publisher. (My apologies to the rest of the world, but I'm only going into North American rights in this post!) That is, the author gives permission to the publisher to be the first to publish her work.

Until these rights expire, an author may not sell her work to other markets. The contract she signs with her publisher will set forth how long the rights extend. Generally, for a short story being printed in a magazine, the rights will be set at a year. For novels, this may be different.

As simple as this sounds, confusion still abounds. If an author self-publishes her work (either by posting it on a blog or going through a self-publishing agency such as Lulu or Publish America), she has already used up her first printing rights. If she's posted her work on a message board or an online group critique forum (unless that forum has adhered to certain standards such as a 'members only' or 'password protected' policy and is unintended to be viewed by the general public), she may have already used up her first rights. And if the first rights have already been used up, many publishers will not reprint it.
So be careful!

Stay Fresh

Shhhhhhhhhh!
Originally uploaded by amp'ed

Living in the moment is important; writing for the moment is not. Good writers give their writing staying power. That is, they work to make sure that what they write sounds as current to a reader today as it will to a reader in twenty years.

There is a tendency among some writers (and I lay claim to this fault as well!) to insert such things as brand names or current iconic figures in their writing. I think this is an attempt to connect with the readers, and to make the fiction seem very 'now' and 'current'. But what seems hip and new and oh-so-cool right now will be passe and dated and completely out of vogue in a very short time.

For example, let's say that a writer five years ago, wanting to be current, writes the following:

Tom turned off the television, sick of the Hurricane Katrina coverage. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movie with her friend so that they would worship their idol, Hillary Duff. And his son was already begging him for a Nintendo DS, and the toy hadn't even been released in the U.S. yet! His kids had no idea how good they had it.

Now, let's try that with all of the trendy parts removed:

Tom turned off the television, sick of watching the news. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movies with her friend. And his son was already begging him for a video game that wouldn't be released in the U.S. for another month. His kids had no idea how good they had it.

Which of these scenarios sounds more current? The first one, with all of the references to pop stars and news headlines, definitely reads like it was written in 2004. The other one would have been current in 2004, 2009, and - unless things change drastically - 2020.

Whenever possible, leave out references to current cultural trends, news stories, and even brand names because when you do, you are placing a big 'sell by this date' sticker on your work. In this world, things change in a heartbeat. What sounds current now will only sound dated by the time your work is published.

Unless you are writing a period piece, you you don't want to date your writing. period.

Deep Purple

Deep Purple
Originally uploaded by nerdvin

There are so many lovely words in the English language, aren't there? Quixotic, erudite, tenebrous... All those lovely adverbs and adjectives just waiting to be used by the likes of us. Like shopping in an exquisite candy store, sometimes it's difficult to reign ourselves in. (Besides, unlike the candy store, words are free!)

But we have to. Most times, restraint and not overabundance is what makes a writer good. Consider this:

"Her face had the fragrance of a gibbous moon. The scent of fresh snow. Her eyes were dark birds in fresh snow. They were the birds' shadows, they were mirrors; they were the legends on old charts. They were antique armor and the tears of dragons. Her brows were a raptor's sharp, anxious wings. They were a pair of scythes. Her ears were a puzzle carved in ivory. Her teeth were her only bracelet; she carried them within the red velvet purse of her lips. Her tongue was amber. Her tongue was a ferret, an anemone, a fox caught in the teeth of a tiger."

Now, not every author has a style that I appreciate, but this is WAY over the top (and, yes, this is an actual quote from a book published by a major publishing house. I was first alerted to it by a post on Live-Journal.) The above selection is an extreme example, but sometimes it takes an extreme example to make a point.

This kind of writing should be done as a warm up activity only. Or, it can even be helpful to brainstorm in this way. Frequently, I wil freewrite for ten minutes when I'm confronting a passage of description. But after I put those words on paper, I edit my work. Three paragraphs of writing may be condensed down to a single sentence or two.

Grapes, wine, and pansies can all be purple. But never, ever, let your prose get that way!

Take Time to Edit

Grasshopper
Originally uploaded by forbesimages

If you're like me, the moment you finish writing a story (or a novel, or a poem, or whatever), you want to dash off a thousand queries to a thousand markets in the hope that one will accept it. There's something about typing the words 'The End' at the bottom of the last page that make me want to send that manuscript off pronto!

But when I feel this way, I always remember those immortal words, "Patience, Grasshopper."

Over the years, I've found that the very last thing I should do when I first finish a story is send it out. That's because finishing a work is a lot like finally consummating a passionate, oftentimes rocky, relationship. You've struggled with writing the story, maybe even laid awake at nights thinking about it. The plot has thwarted you. The descriptions have plagued you. The characters have evaded you. But now you're finished. It's a genuine high. (I've been known to literally do a dance in my office after finishing a piece, much in the same way that quarterbacks will dance in the end zone after completing a touchdown.)

This is the time you'll have that post-consummation, dreamy feeling about your story. You won't see its flaws; you'll only be rejoicing that you've finally finished the darn thing. You'll be thinking of seeing your name on the printed page and fan mail and royalties.

What you need (and what your story needs) at this point is a good dose of reality. You need to look at your work - not with those dreamy, lovey-dovey eyes - but with the cold, hard eyes of someone who has woken up the next morning and realized that she's written a book (or a story or whatever).

Once you complete that story - even if you've been editing all along - set it aside. For a week. Better yet, if you can stand it, for a month. Then re-read it carefully. Read it out loud to yourself, in fact. You'll be amazed at what you discover. Those words you thought were all perfectly spelled, that carefully crafted plot, those passages of description... There is nothing like time and distance to make the flaws in your writing stand out (and I am saying this from a lot of personal experience).

When you send your work off to the agent or market of your choice, you want to be 100% confident that your work is the very best it can be. For that, you need to give yourself some time away from your work.

Sometimes Summer Gets in the Way

It's been so long since I've last written that when I tried to enter the Blogspot site, I was sent to the login page. It's like being asked for your ID at the neighborhood bar. But to be fair, I haven't written in a while.

Sometimes summer just gets in the way.

Well, I'm back with a few new ideas for posts (including some on how to proofread a story and what makes a story work), but for today, I'd like to share a fun bit that I found on NPR (National Public Radio).

Writing flash fiction is difficult. It may not seem that way, but it is. The fewer words a story contains, the more difficult it is to tell the story. It's like trying to run a household on a tight budget. There's no room for extras.

Enter NPR's Three-Minute Fiction Writing contest. Last June, National Public Radio asked its listeners to submit stories that could be read in three minutes or less. After slogging through 5,000 submissions, the results are in. You can read the winning entries here.

Flash fiction has never been something I've been able to write. I guess I'm just too verbose. But I had a fun time reading these winning entries, and I hope you will too.

It's good to be back!

Make Yourself Invisible

As writers, we are, at times, tempted to show off our skill. We want to write that amazing word picture of the windswept coastline or give a detailed description of our favorite character. We are artists, and words are our medium...

Okay, let's get real. Yes, writers use words to create pictures for their readers, but they also use words to tell stories. Too much description, however, will bog down a story; it may even stop it in its tracks. Personally, I'll take a well-written descriptive sentence over a lumbering paragraph every time. Maybe that makes me a cretin, I don't know. But what I do know is that I'm not alone in this opinion.

Today, the editing blog The Blood-Red Pencil posted a link to an essay written by Elmore Leonard entitled "Easy on the Hooptedoodle". Some of the hints include not opening with a discussion on the weather, not going into too much detail in our character descriptions, and not to use words like 'suddenly'. If you are unfamiliar with Leonard's work, I highly recommend picking up one of his books. His prose is tightly written and full of action yet contains vivid descriptions and interesting characters. The man is a terrific writers and knows what he's talking about in this essay!

Putting your thumbprint squarely on your manuscript is as bad of an idea as putting it in the middle of the pie you just baked. You might appreciate it, but others probably will not.

Plot Progressions

Making readers want to read on, that's the writer's goal. No one wants to have their readers stop halfway through the book or story. Surprise endings are one way to create tension (though not a very good way.) So is dramatic irony. A third method is plot progression.

Plot progressions are a type of dramatic irony in that the audience is clued in to what is coming next. The story starts with a small action, repeats that action on a somewhat larger scale, and then repeats the action again with even greater consequences (and a greater payoff for the reader). Readers are kept on the hook because they can see where this course of action is leading (even if the protagonist cannot).

There are many, many examples of this kind of plot (in fact, I challenge you to come up with your own examples!), but my favorite comes from Stephen King's Pet Cemetery. (Warning: spoilers follow!)

Pet Cemetery centers around the idea that dead bodies buried in a secret Native American burial site will come back to life. Well, 'life' in a reanimated corpse kind of way. The plot begins with the death of a student; a person who is only marginally associated with the protagonist, Dr. Louis Creed. But this action makes Creed begin thinking about death and his own philosophy of the afterlife. Next, Creed's elderly neighbor dies, and the doctor gets a more personal look at the tragedy. A while later, Creed's daughter's cat dies and the doctor, unable to bear his child's sorrow, buries the cat in the enchanted cemetery. The results are disastrous, and he vows to never do it again. But then his son dies...

Looking at this progression, you can see how King builds the tension and intensifies the payoff. Sure, the audience has a pretty good idea of what is going to happen, but they can't wait to read it. Like watching an impending car wreck, you can't tear your eyes away.

Plot progression can be as simple as a fairy tale (which is the basis for such stories as Goldilocks and the Three Bears and Jack and the Beanstalk) or as complex as a Stephen King novel, but it is a terrific way to keep your readers involved in your story.

A Writer's Toolbox

Betty Dobson at Apollo's Lyre had a great post yesterday: The Top 10 Things Every Writer Needs. I love her list, but I'd like to add just a couple of items of my own:

1. A baby name book. This sounds strange, but it is an invaluable tool. Most times, writers have the names of their main characters already picked, but there are times when a minor character needs to be named and a baby name book can help with this.

2. A flash drive. Backing up your files is extremely important! I've blogged on this before. Having a good flash drive will make backups much easier.

3. Index cards and a small file box. Every time you finish a story or other writing project, write down the information (title, word count, genre, etc.) on the file card. Under that, keep a list of the markets you are submitting to (noting the date you submitted and the date your response came). This is an easy way to keep track of your writing and submission record.

4. A library card. Writers need to read as much as possible, but who can afford to buy every book she wants? Libraries are a poor writer's best friend.

5. A sense of humor. Don't get me wrong, I love to write, but writing can be one of the most discouraging, frustrating endeavors a person could ever take on. To keep up my spirits, I keep cartoons (Snoopy atop his doghouse, writing 'It was a dark and stormy night'), funny bumper stickers ('Sometimes I creep myself out'), pictures of my kids (to remind me that there are other things in life besides writing) and other positive motivators pinned to my bulletin board.

6. Patience, patience, and more patience. Patience with yourself, with your writing, with the response times of the markets, and with everyone and everything that seems to get in your way when you want to write.

Writing Exercises

I hardly dare even say the words, "writer's block" for fear of cursing myself, but we all experience it. So if you are stuck in the middle of a dry spell, check out today's blog post on Apollo's Lyre, Writing Exercises to Get You Going. These exercises are terrific, and I'm sure will help you circumnavigate that block.

The Shocking Truth about Shocking Endings

"...and you won't believe the shocking ending!!!"

How many times have you heard this on television? Nearly every week, some show or another is promising its viewers an ending they won't believe. Or can't imagine. Or will be shocked by.

Yawn.

Sure, surprise endings have their place, but they've been way overused of late. Unexpected surprise endings might work in a short story or a television show, but a very good surprise ending is very difficult to write. Why?

1) In many cases, the audience is expecting it. Most people, when reading a story, are working to forecast the direction of the plot (Where is this story going? What's going to happen next?). This means that, aside from children (who are more of a pure audience due to their lack of experience), most readers will spot a 'surprise' ending a mile away. And, believe me, there is nothing worse than a surprise ending that falls flat.

2) Because of #1 above, writers must reach farther and farther for an ending that will actually surprise the readers. This means that, in many cases, surprise endings are becoming more and more improbable. Some even reek of deus ex machina.

3) Surprise endings often fall into the realm of cliche. Joe Bob thinks that everyone has forgotten his birthday, but all of his friends were merely planning a surprise party for him. Mary Jane thinks her boyfriend is cheating on her because he's out all night, but - wow! - he's really a vampire. Little Billy is being chased by a huge monster, but - surprise!! - he wakes up and finds out that it is all a dream.

Again, there is nothing worse than a surprise ending that is no surprise. There are much better ways to build tension in your fiction. Over the next few posts, I'm going to explore some of these ways. There. I've told you what I plan to do and, therefore, have spoiled the surprise. On purpose.

Writing About Children

Maybe it's because yesterday was Mother's Day, but I've been thinking a lot about child characters in adult books. So often I've read what I've thought was a very good novel only to be annoyed by the lack of authenticity in its younger characters. Every character in a book, even the little ones, need to be convicing. I'm not sure if some authors don't have any experience with kids, or if they think their characters are exceptional, but after living with and working with children, I have found that, despite their differences, they share a lot of similarities.

1. Children are not tiny adults - This seems obvious, yet so many times I've read stories in which the children behave like adults. Obviously, there are some very well mannered children, but even these will get cranky at times. Children fidget. They cry. They whine. They pick their noses and blow bubbles with their saliva. In Martin Scorsese's movie Kundun, a very small boy is chosen to be Tibet's next dalai lama. As such, the boy is expected to meditate several hours each day. One of my favorite scenes in this movie is of the little dalai lama, who is barely out of toddlerhood, wandering off while the other monks are deep in meditation. Of course he's not able to sit motionlessly for hours on end! He's just a child!

2. Children are concrete thinkers, not abstract thinkers. I can think of many novels in which young characters are discussing philosophy or solving complex logic puzzles. This is simply not realistic. I'm not saying that there aren't some exceptional children who can out-think many adults, but this is the exception, not the rule. Lisa Simpson is a great example of this. I love the character - in fact, she is my favorite Simpson - but her interests in women's studies and jazz don't make her very childlike! (Obviously, this is part of the fun of the show.)

3. Most children are fearful and suspicious of change. Because their range of experience is so limited (they've only lived a few years, after all!), they tend to worry about things. If Mom has a cough, does that mean she's going to die? What will happen if I go to kindergarten and have to use the bathroom? And just try to get a child to try a new food that looks a little different from what he's used to!

Now, if you're looking at this list and shaking your head, chances are that you've had enough experience with children to know the exceptions to these observations! In that case, you are probably familiar enough with children to write believable characters. If not, try to observe children to see how they act and what they do. Even if your child character is a genius (such as Ender Wiggin in Orson Scott Card's Ender's Game) he or she is still a child! Just like a female writer must pay special attention when writing a male protagonist and vice versa, so too adults must pay special attention when writing about the youngest of their characters.

[As an end note, I've noticed that the best children's characters are written by authors of children's and YA books. Katherine Anne Patterson, Jerry Spinelli, and Andrew Clements excel at writing about children and young people. If ever you need some tuteledge in writing young characters, I suggest reading a few books by these authors.]

Character Sketches

One skill I find very difficult is describing characters. Especially minor characters who grab center stage for a very brief time. A waitress, for example, who occupies the main character in a brief conversation or the next door neighbor who pops in and out of chapters but never sticks around longer than a paragraph or so.

Part of the challenge, I think, is balance. A writer wants to offer enough of a description so that the reader has a basic picture of who this character is and what she's like. But at the same time, the description shouldn't clutter up the narrative with a lot of unnecessary details. The last thing a writer wants is for his readers to silently say, "Enough already! I've got the picture."

To help myself improve this skill, I've started doing what I think of as 'word caricatures' of people. I'm sure you've all seen caricaturists: artists who set up shop at carnivals and shopping malls and draw cartoonish likenesses of their customers. They pick out a few distinguishing details of their subjects and then drawing them at lightening speed. (My husband and I once had one done at a bar and the result was funny yet amazingly recognizable.)

I work on my caricatures as I'm waiting in line in the grocery store or the bank or wherever. I watch the other people and attempt to mentally describe one or two specific details that set them apart from the crowd. (Please note, that I never intend to be cruel or judgmental. I simply try to capture what I see.)

For example, last week, while I was helping out in my daughter's elementary school, I saw two little girls with long-sleeved black shirts. Both girls had long, gray streaks of dried mucus on their sleeves where they had used their shirts as tissues to wipe their runny noses. This, I think, is a very arresting detail that would work well to implant a minor character in the reader's mind.

Another example came today when I was at the gas station. The elderly man behind me in line walked with a cane. The attendant was a teenager with jeans that sagged well below the waistband of his boxers. When the elderly man stepped up to the window to pay for his gas, the teenager grinned widely and said, "Hey, Mr. X. How's my yo' boy?"

Again, these are very brief examples of people, but brevity is what's needed. You don't want to flood your readers with a lot of details; you want to keep them focused. But because minor characters often play important parts in the narrative, they deserve some sparkle, too.

Second Person

One day, my twelve-year-old son told me that his junior high English teacher had been explaining the difference between first person and third person points of view. When my son asked about second person, she said that there was no such thing (much to his outrage).

Yes, the rumors are true...there is a second person voice.

It reads something like this:

You opened the refrigerator and saw that your roommate had once again drunk all of your beer. Outraged, you pounded on his bedroom door, demanding an explanation. He kept his eyes on the video game he was playing and refused to answer. You stormed away, hating him.

Sounds weird, doesn't it? But while this type of writing defies convention, there are some writers who use it. One notable example is A Prayer for the Dying by Stuart O'Nan. This book is not only written in second person, it is also written in present tense which is doubly strange. Although I believe that this voice would be difficult to tolerate in a long work, A Prayer for the Dying is short. Additionally, the second-person present tense gives the story a powerful impact that it might not otherwise have had. If you haven't read this book, I highly recommend it. (Bright Lights, Big City by Jay McInerney is another example. I have yet to read that one, though.)

In the book Story Matters by Margaret-love Denman and Barbara Shoup, second person POV is also discussed. Story Matters, an outstanding resource for writers, quotes writer Pam Houston who says, "[A second-person] point of view is always about a 'narrator who's ashamed of herself, afraid to say I'." Story Matters goes on to say, "Using the second person washes a layer of shame over the story without the narrator ever having to admit it."

After reading that, I decided to try writing a story from the second-person POV. My story, The Scarlet Wristband, involved a young, teen aged boy who had to choose between telling the truth and saving his mother. Although the piece was successfully published in All Possible Worlds, when it was reviewed, my use of the second-person POV was criticized because it placed too much distance between the reader.

Personally, I enjoy reading the second-person POV (in small amounts). I think it can lend some interesting angles to a narrative. But it can also fail miserably. Like so many unique narrative structures (such as diary entries), however, second-person POV is another tool in the writer's kit.

Who's Your Narrator?

Many years ago, I had a professor ask me this question. At the time, I had no idea what he meant. Who's my narrator? Sure, I understood that story or novel written in first person had a narrator. But what about one written in third person?

Consider the following example:

I didn't wasn't planning to steal anything when I went into the store. But when I stood in the checkout line, my hand darted out of my pocket, and my fingers closed around a pack of gum. Then, between one heartbeat and the next, my hand was safely back in my pocket again, the gum tucked away like it had a right to be there. And when the checkout girl didn't notice, I understood that this was a game. Just like my mother had always said.

This bit was written in first person (that is, from the point of view of the shoplifter). Here, the narrator is easy to identify. Who's telling the story? The woman, of course. But take a look at this example:

Carol wasn't planning on stealing anything when she went into the store. But when she stood in the checkout line, her hand darted out ofher pocket, and her fingers closed around a pack of gum. Then, between one heartbeat and the next, her hand was safely back in her pocket again, the gum tucked away like it had a right to be there. And when the checkout girl didn't notice, Carol understood that this was a game. Just like her mother had always said.

This was written in third person. So who is telling the story? Who is making the reader understand that Carol wasn't consciously thinking of shoplifting? Who is giving that little glimpse into Carol's mind when she thinks of this as a game? Again, it's the narrator.

Even if your story is not written in first person, there is a narrator. There is that invisible person who is describing the scene, giving insight into the characters' minds, and putting a spin on the entire story.

Yes, a spin. In the previous bit, the narrator might have added some incendiary comment ("Just like her mother, the thief, had always said.") Or perhaps some words to make Carol a more sympathetic person ("Carol understood this was a game. And, after what she'd gone through, who could blame her?")

The narrator decides what will be said. She (or he) will determine what details the reader is meant to notice. She will be the one who looks into the character's minds and records what he sees. In any story, understanding your narrator is extremely important.

A few years ago, long after I first heard about the narrator, I had the pleasure of hearing a lecture by children's author, Gary Schmidt. Mr. Schmidt said that he always asks his students to consider their narrator when they begin to write. It was his belief that, until a writer knows who the narrator is, the book will lack focus. I have to agree with him; understanding your narrator is as important as understanding your characters.

Don't Set Your Stories in the Kitchen

One of the best pieces of advice I ever received came from a forum post written by an editor of a small magazine. She was discussing her slush pile and said that if she had to read another story that took place in a kitchen, she just might have to tear her hair out. "Do writers know how many stories begin in kitchens?" she asked, clearly annoyed. "And do those writers realize how boring that is?" (I truly wish I knew who said this because I 'd love to give her credit for the terrific insight; however, I don't even remember which forum it was.)

After reading that post, I went through all of my stories and - much to my chagrin - 90% of them took place in kitchens. Or living rooms. Or they began in a bedroom with the main character waking up (which, according to this same forum post, was even worse than beginning a story in a kitchen).

So what's wrong with writing about a kitchen. After all, interesting things can happen in a kitchen, can't they? Well, yes and no. Consider the following scenario:

Greg and Kate are having an arguement. They've been married for a year, but Greg thinks that the shine has already come off their relationship because Kate is so focused on her goal to have a baby that she's scheduled thier love making, thus taking all the fun and sponteniety out of their intimacy.

Okay, now take this scenario and put it into one of the following settings:

a) a 50th anniversary party for Greg's parents which is being held in an exclusive country club

b) a kitchen

Which of the settings makes the story more interesting?

If you are writing this argument in a kitchen in which the only two characters present are Greg and Kate, you are missing some opportunities to create tension. At the party, Greg and Kate are in a public place. Now their flaring tempers are put under even more pressure because they will probably want to remain civil to one another in order to not embarrass the family or themselves. Maybe one or both of them has been drinking too much. Maybe they have begun to argue in the cloakroom only to be interrupted by great aunt Myrtle or cousin Fred...

So you see, just by changing the setting, you are able to rachet the tension up and make the argument much more interesting.

I'm sad to say that, many times, I still opt for the safety of a kitchen or living room setting. I think this is because I am a lazy writer at heart. Kitchens are much easier to write about than restaurants. The kitchen is a very confined space; you don't have to think about the placement of the doors and tables or worry about describing the other customers or the waitstaff. It's much easier to write about a kitchen. But it is, as the editor rightly noted, it is also much more boring.

Speech Tags

Speech tags are those bits of description attached to dialogue. For example:

"You underestimate me, Paul," Sarah said, lifting her chin.

or

As Anne Marie ran down the stairs, she looked over her shoulder and shouted, "You can't catch me!"

Once you begin to notice speech tags when you read, you'll never stop. They're everywhere. Sometimes, the speech tag is an adverb that is used to describe how a character actually sounds when she says something:

"You underestimate me, Paul," Sarah said loftily.

These adverbs (generally, words ending in -ly) can become quite silly if used too often. In fact, there is even a term for them: Tom Swifty. A 'Tom Swifty' is a pun, such as:

"I'm on fire," he said hotly.

or

"Anyone can do that," she said easily.

Using too many speech tags can make your writing appear clumsy or childish. Your characters should be able to express themselves with their actions rather than rely on you, the author, to tell the readers what is going on. For example:

Andrew frowned and shoved his hands into his pockets. "It's not fair," he said.

is better than:

"It's not fair," Andrew said huffily.

Another way to correct speech tags is to turn them into independent sentences of their own. For example:

"I hate you," Gwynneth said and covered her face with her hands.

Change this to:

"I hate you," Gwynneth said. She covered her face with her hands.

Some writers will even go so far as to say that a writer should never use speech tags other than 'said' when writing. While I think that 90% of speech tags can be effectively written out of a dialogue, I do think that an occasional one is fine. Stephen King is one author who, in his book, On Writing: A Memoir of the Craft said that speech tags should be eliminated, yet, if you read his work, you will see that he still uses them. I would suggest that if you see that your writing has more than one speech tag per page (other than a simple, 'said'), you need to do some editing.

A final thing to notice about speech tags is that, other than said, there are a few words that be used when your characters give voice. For example:

"I'm sorry," she whispered.
"I'm sorry," she shouted.
"I'm sorry," she admitted.
"I'm sorry," she whimpered.

Please notice that 'smiled' is not among these words! Someone cannot smile something. She can smile and say something, but she cannot just smile it.