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Category Archives: Beyond the Tripping Point

Rolling out the author readings with Canadian Authors Toronto

Now that spring is here, it is time for me to get back into author readings.So next Tuesday evening, April 4, I will be taking my Beyond books for a reading at a Toronto library branch. Four other authors will join me: Bianca Lakoseljac, K.V. Skene, Michael Pawlowski, Ellen Michelson, Catharine Fitton

The readings are being held by the Canadian Authors Association Toronto Branch. This branch has been shall we say “sleeping” the past couple of years, but now branch president Chris Canniff has kick-started it with this author reading which is open to the public.

The Canadian Authors Association has been around for close to 100 years. It was started in 1921 by some prominent Canadian authors, including Canadian humorist, Stephen Leacock. It’s focus has been and still is “writers helping writers”, which it does in many ways. These include work with copyright issues for writers, establishing literary awards including the annual CAA Literary Awards for non fiction, fiction, poetry, and drama. CAA also came up with the first book contract between authors and publishers.

And, oh yeah, members are both published and non-published authors.CAA has branches right across Canada.

Some of these branches have a Writer in Residence. Vancouver branch’s WiR is well-known poet, editor, and short fiction author Bernice Lever. Bernice used to live in my neck of the woods and she was one of my mentors. She used to run a writing critique group in Richmond Hill, just north of Toronto. When I lived in the area, I attended it. Bernice inspired me to start my East End Writers’ Critique group in September 2000 and EEWG is loosely based on the Richmond Hill group.

I, too, had the honour of being Writer in Residence for the CAA – the Toronto branch, from 2001 to 2003, and then again from 2009 to 2015, although the current Toronto branch website still has me listed as WiR. The website is to be updated shortly.

You can check out more about the Canadian Authors Association here. There are links to the branches and much more information.

As for the Toronto branches Authors Reading evening, here is the “dirt” according to Chris Canniff and a link to the CAA Toronto Facebook page. And you don’t have to be a CAA member to read at this event, but if you are in the area you can drop in to meet us.

“We want your stories! The Canadian Authors Association Toronto Branch is having a meeting on Tuesday, April 4 at 6:15pm and we want you to come prepared to read, or come to listen to what others are writing. Event details are below Bring your best work, or a work in progress! Please RSVP to president@canauthorstoronto.org to sign up for a reading. Readings are generally 3-5 minutes long, but that can be extended depending upon the number of readers. Beverley Burgess Bell, who hosts an Oakville Writers Group, will be moderating. Come out, bring a friend, and help us make this meeting a success. We look forward to seeing you there! Check out our new Facebook page, at > https://www.facebook.com/CanadianAuthorsAssociationTorontoBranch/ And our soon-to-be-updated website www.canauthorstoronto.org Event Details: What: Member Reading. Non-Members are also welcome to attendd, but all members and non-members should RSVP. Non-members are encouraged to consider membership!
When: Tuesday, April 4 from 6:15 – 8:15 Where: Toronto Public Library [Annette St. Branch] – 145 Annette St. Website: http://www.torontopubliclibrary.ca/detail.jsp?R=LIB022 Location Details: Closest major intersection is Keele and Annette Streets. Branch is located on the southwest corner of Annette Street and Medland Street.”

And if you click on the Beyond book icon at the top it will take you to more info about my books.

Cheers.

Sharon A. Crawford

 

 

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Three Author Snafus Editors find

I’m wearing my Editor’s hat today and the hat pin is keeping it firmly in place. There are several “concerns” (to put it gently) I come across when editing an author’s fiction manuscript. Today, I’ll highlight three of them with quick suggestions on how to avoid.

  1. Point of View does the lice movement, i.e., switches heads a lot. Sometimes this switch occurs many times within one scene and it is confusing for the reader. The scary part here is some of the POV switching occurs in published novels. Somebody was dozing at the wheel. Yes, you can have multiple points of view in a novel. Often, depending on the novel’s plot, multiple POV is very necessary. But the rule of thumb is to keep the same POV for the chapter, or a scene in the chapter. Get inside one character at a time. If it helps subhead the POV character’s name for the chapter or scene (you can remove that subhead later). Refer back to that subhead when you finish writing the scene’ or chapter’s draft.
  2. When detail becomes expository. This can happen with describing rooms, towns or history and when it gets out of hand can put the reader to sleep. Why? Because the prose is coming across as a lecture. Even putting it as dialogue doesn’t always help. Yes, put the character in the scene and if describing rooms or towns, beaches, etc. do it as the character goes into the room, etc. and what they see. If the room is untidy, maybe they trip over something. For history, keep it to a minimum – what actually is connected to the story’s plot – not the area’s whole history from BC. Yes, use some dialogue, but keep it short and have the characters do something while talking, have other characters ask the history teller questions or make comments. And have the conversation interrupted with something else happening. For example, if they are in a car, maybe the car blows a tire; maybe they are being followed (but watch the POV here); and maybe there is a sudden storm.
  3. Weird formatting in Word. I’m talking beyond what a copy editor would do – such as changing paragraphing to traditional style for submission to publisher. I have had hard returns in manuscripts, extra space suddenly appearing at the bottom of the pages, backward quotation marks. And my favourite for “the author is in the doghouse” – submitting a manuscript for editing when the manuscript has already been formatted in Word’s book form. Huh? Keep it simple and basic. If you can’t do this, hire a Word professional to type up your manuscript. Oh yeah, handwritten manuscripts are never acceptable.

These are just a few of the “idiosyncrasies” I have received from authors expecting me to edit their manuscript.and I have received worse.

Okay, back to wearing my author’s hat.

And as usual, if you click on the Beyond book at the top, it will link to more information. Teaser: there may be some news of another Beyond book soon.

Cheers.

Sharon

 

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Writing fiction from reality

beyond-the-tripping-point-cover Amazon link-72dpi4Sometimes writing fiction from reality can make a stronger story. And I am not referring to the “reality” of so-called reality TV shows. I’m talking about your personal experiences.

There is a catch, though. You are writing fiction so you need to change charactes’ names. You might also want to change places and timelines. One of the most important points is that because this is fiction, you can change what happens – in fact you can use what happened in your life as the seed for your story and go from there.

One of the short stories, Porcelain Doll, in my short story collection Beyond the Tripping Point (Blue Denim Press, 2012) is taken from a regular occurrence in my childhood – but a pleasant one. So I did a “what if?”

My late father worked for many years as a timekeeper for one of the railway companies. Mom and I had free travel passes on that railway line and the competing railway. That was how we travelled to visit Mom’s relatives and to other places each summer.

So, I took that travel and the approximate time and created a “What if?”

What if the dad was a bully?( My Dad wasn’t.) and the mom was a doormat scared of him? (My Mom wasn’t.) What if the dad also bullied the daughter? (My dad didn’t – he used to call me his princess.)

So, I extracted a few facts from real life – a family of three who annually visited a grandfather on a farm, the mom knitting, the dad obsessed with the train service, and what the train ride was like at that time (early to mid-1960s), and the daughter’s obsession with reading Agatha Christie mysteries and dolls. Here the resemblance gets more than murky.

What never happened on a train in real life (at least not on any trips I took), occurred here – from playing poker for money, a prize doll (hence the story’s title), murder, disappearances, the aforementioned bullying – and the aftermaths. Story is told going back and forth between the present (1989) and the past to move the plot along to a startling conclusion.

With this use of my past I could get the feeling of being there on a train ride in the late 50s and early 60s including some little known facts such as the trains actually had a separate coach for smokers and you couldn’t smoke in any other coach, a somewhat novel idea in the days before smoking and non-smoking regulations across the board. My dad smoked back then. There was also the train route and where you would have to change trains – although I kept it to the same route I changed the location where the grandfather lived. So, I had feelings and remembrances of these train rides.

What I didn’t have was how the little girl in Porcelain Doll would react and act to what happened. That was pure fiction and that is where I had to get inside Sarah’s head. And…

No, I’m not telling you anymore. This is an example to give you an idea how you can do it. If you are stuck for a story idea. I think Porcelain Doll is a stronger story because of my past experience. Certainly others who have read it have said so.

If you want to read Porcelain Doll and the 12 other stories in Beyond the Tripping Point, you can click on the book icon at the top to get more information about the book.

What personal experiences have you had that could be turned into fiction – with a lot of well, fiction in them?

Cheers.

Sharon A. Crawford

 

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Same old same old to twisted plots

beyond-the-tripping-point-cover Amazon link-72dpi4If I saw one more TV mystery where the cops found the dead body in the trunk, I was going to do more than scream. And I did. I wrote “The Body in the Trunk” (from my short story collection Beyond the Tripping Point, Blue Denim Press, 2012). Instead of a body being found in the trunk the story deals with getting a body into a trunk and the why behind it. I also, as I often do with these stories, wrote it as a satire, in the noir black vein.

At one point I was also getting bored with reading mystery novels where the main character, a private investigator seemed to be continually broke. So, in “The Couch” I created a young (mid-20s)  private investigator who has too many clients. The story, also a satire noir black, deals with how the PI tries to downsize the clients – first using standard legit means, and when that doesn’t work, turning to crime. The payback is unexpected. “The Couch” was first published in an anthology, before being published in Beyond the Tripping Point.

So if you hit writer’s block on creating a new plot – take a twist on an old one, but one that is overused to the point of boredom.

And let your creativity loose.

You never know what will surface. It is just criminal. (Sorry, couldn’t resist that).

Cheers.

Sharon

And as usual, click on the book icon at the top to find out more about my Beyond books.

 

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Writing stories from extreme weather

The latest Beyond book in the series

The latest Beyond book in the series

Can you take an extreme weather situation you lived through and write a story about it?

Often living through these types of events can cause a lot of trauma, even post traumatic stress disorder (PTSD). And one way to get on the road to healing is to write about it. If it is too painful to write your story, then why not use it as a basis for fiction. Getting your imagination to work with what is now a reality can often produce a powerful short story or novel.

Examples are floods, tornadoes, volcanoes, and ice storms, The one in the news lately is the severe prolonged ice storm in the province of New Brunswick in Canada’s Maritimes. That one caused widespread prolonged power damages.

I wasn’t there for that one, but did go through the one in southern Ontario, particularly Toronto, in December 2013.

So, give your imagination free reign for story ideas. If you’ve lived through an experience, your experience will factor in for what it feels like, what can happen, what it looks like. But you want a different story, different characters – could be mystery, science fiction, fantasy, young adult, romance.

Or you might want to take one or two events that happened during the storm – to you or friends and go from there. For example, in the December 2013 ice storm in Toronto, I had a belligerent boarder and her cat living with me when the power went off. Fortunately the phone (a land line) still worked so my son (who still had power – it wasn’t everywhere in Toronto – in fact there were blocks with no power right beside blocks with power) could phone me. My son arranged and paid for a hotel room for the boarder, her cat and me for two days and took us out to dinner the first evening there.

Outside it was icy – sidewalks, roads, trees and power lines, some still down. Until downtown where the hotel was – the scene was more normal, dry sidewalks, lights and heat.

Oh yeah, the boarder’s cat was black.

So, what can you come up with in a story with just that much information?

If you click on the Beyond Blood novel above it will take you to more information about my Beyond books. No floods or tornadoes, but there is a scary scene in a lake, both above and under water in Beyond Blood, and a hair-raising car drive up a highway in the short story “No Breaks” from Beyond the Tripping Point. The idea for the short story came from something that happened to a friend and me, but the short story is not our story. The scary lake scene in Beyond Blood comes from a few pieces in my life – I can’t swim, being on a sailboat with a friend, her boyfriend and my son, and the swimmer (my friend), not me, falling into the lake. This latter wasn’t a traumatic scene (it was actually funny and yes my friend did get herself safely back onto her sailboat – and she was laughing all the way about it), but it does give you the idea of taking something you lived through and “spinning a yarn” from it.

Creative writing to all.

Cheers.

Sharon

 

 

 

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Writing critique group comes through

Beyond the Tripping Point Cover 72dpiI have posted before about writing critique groups and how they can help us writers. But it never hurts to add more on the subject because we writers write in a vacuum of me, myself and I. So we often think in opposites – our short story, or essay, or novel is brilliant or our writing piece is awful. Sometimes we think with wisdom – we know something is just not working but we don’t know exactly what or if we do, we don’t know how to fix it. Enter a writing critique group.

As the organizer and facilitator of the East End Writers’ Group in Toronto, I don’t always bring a piece for critique to our almost monthly meetings There is only so much time for a limited number of authors to read and get their work critiqued, so  If I did bring something to each gathering, other members might think “oh, she runs the group, so she can do this.”  This isn’t true as I find we are all helping each other whether we bring in something or not. And we are polite as well as giving constructive criticism. Nobody should feel their work is really bad.Each of us has our own individual writing experience and knowledge which we can put into the critique – even if we don’t write in the genre of the writing work being critiqued.

So, last evening I brought in the first five pages of a humorous mystery short story for critique. And I learned a few things. One author who also writes short stories wanted to know the age of the two main characters. The ironic thing here (and I got it and mentioned it) is I am always suggesting he do the same in his stories. Somebody else misread the ages of these two characters and it was from what she read and also what wasn’t there for her to read. She asked me how old the two characters were and when I told her, she said they were much too young as women at that age nowadays would be more technical savvy. She said that one sounded like she was retired. After I explained that the “retired” one was currently unemployed and she was the one not technically smart, but the other one  was and that the latter was in the story, I realized that I needed to include some ages, fix the bugaboo I had in with the technological luddite, and mention she is currently unemployed. She should be early 50s and her friend 15 years younger. The latter would work, not only because she has an elderly mother who figures in the story, but my son is late 30s and is very tech savvy – in fact his work is with computers, software and architecture and the like. And he is my computer expert who helps me with my computers.

So you can see how a writer’s tunnel vision can work, or not work. I didn’t even consider including the characters’ ages. As one of the others said, and I paraphrase. You see in your mind how your story is going and presume everyone else knows as much as you do.

Wise words, and something for us writers to consider.

Do you belong to a writers’ critique group – in person or online? If so, how has the group helped you?

Cheers.

Sharon

And if you want a looksee at my collection of published short stories in Beyond the Tripping Point, just click on its icon at the top.

 

 

 

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Don’t Write the Same Old Same Old

The latest Beyond book in the series

The latest Beyond book in the series

When writing fiction, particularly mystery, thriller and suspense, don’t develop plots and characters that have been used before. Do readers really want another jaded police detective who is an alcoholic? How about yet another body found in a trunk?

Readers want to be surprised, entertained, and have something different. Those who like to try to figure out who done it and why like a challenge. If it is too easy, that won’t work.

Twists and turns in suspense, mystery and thriller novels work very well – provided they are different. And if you are writing a series, you need to write the unexpected even more so your readers don’t get too comfortable with your series characters. You want them to relate to the characters and develop a bond, but you have to shake them up with each book’s plot and characters.

Remember your characters need to be like real people – they can’t be stagnate. Throw them lots of curve balls and see how they act and react.

Some authors that are masters at this are Julia Spencer Fleming, Peter Robinson and Harlan Coben. The latter writes standalone mystery-suspense, while the former two write series mysteries. Spencer Fleming, for example throws a big curve with each book. Just as something seems to be sorted out between her two main characters – Rev. Clare Fergusson and Russ Van Alstyne –  right at the end of the novel, something happens that seems to come out of the blue.

But it is not really out of the blue – if you go back throughout the novel you will see events and what the characters are doing that make the unexpected logical. Some examples (without stating which novel) are when the priest and the cop finally get their relationship solidified, the priest who was previously in the armed forces and is now on reserve, is put on active duty outside the US. Right at the end of the book. Great hook to get the reader to read the next one in the series.

The reader knew Clare’s background here,so that wasn’t grabbed from the air. It was the timing.

And that’s what is important. Timing. In my Beyond novels, I build up the suspense with (among other things) a growing relationship between the main character PI Dana Bowman and Detective Sergeant Donald Fielding. Both are relationship shy – that isn’t too different. But how it evolves (or does it?) is different because of other things going on in the novel. The ending has a big twist.

This is the novel I’m still putting the finishing touches on for the publisher. So, I’m not going into more details. The previous and most recent one, Beyond Blood has a bit of a cliff hanger at the end – the premise here being, when a crime victim has been rescued, it may not all be rosy and comforting for them. In fact, it isn’t in real life.  I took that idea and left the reader wondering about a character’s dealing with after effects. The short story collection Beyond the Tripping Point has four stories featuring Dana Bowman and most of the rest of the Beyond gang. These stories take place the year after. And the current Beyond book is later that same year and the character is still suffering some after effects.

Unexpected events change people – how they live their lives afterwards.And that varies with each person. So, too, should your fiction.

Don’t be lazy and write the same old same old. Surprise your readers – but make it logical. That may sound like an oxymoron, but be creative.

And read what is already written to see what works, what surprises and what doesn’t. Read books by Julia Spencer Fleming, Peter Robinson and Harlan Coban, and yes my Beyond books too.

You can get more information about the Beyond books by clicking on the Beyond Blood icon at the top.

Cheers.

Sharon

 

 

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