RSS

Tag Archives: Charactistics of good fiction plot

Creating suspense in fiction

The latest Beyond book in the series

The latest Beyond book in the series

How many books have you read where the plot seems to flatline? Maybe the characters get too chatty. Maybe the description of characters or setting reads more like an expository. Maybe the scenes themselves are mundane. Do you then yawn?

Those spell boredom for the readers. And I see it happening in novels that are supposed to be mysteries. A village scene, instead of creating some touch of menace or at least some suspense, reads more like a slice of village life. Not all authors can do the village scene as well as the late Agatha Christie did.

There are ways your novel can get a life readers will want to read about. And just to clarify. Suspense doesn’t only equal mysteries and thrillers. All fiction needs some suspense – and that includes romance novels with their relationships. In fact, the twists and turns of relationships in any novel are fodder for creating suspense. Characters are at the core.

Here a few tips to create suspense in fiction:

  1. Start your story with something to draw in your reader. If you must have your village scene, get inside your main character’s head and show her take on the scene. Perhaps she dreads the town council meeting, the gardening club meeting, the tea, etc. Why? Or something terrible happens at the beginning at that meeting. Here’s a quick example. Marion would never call Fairfax council meetings boring again.
  2. Dialogue is good – reveals and develops characters and their interactions, as well as moves the plot forward. Unless your characters get overly chatty and go on and on for pages about religion, politics and more mundane things. All three might be relevant to your story, but add some spice, some suspense. Maybe one of the characters chatting is not making sense, seems to be high on something. More to the point, have a character reveal something startling to move the plot forward. Or have the dialogue interrupted by something happening. Depending on your story’s genre, could be somebody unexpected bursting into the room and creating chaos.
  3. Character descriptions. Forget the long expository but blend it in with the storyline and reveal something or several somethings about the POV character and other characters in this scene. In Beyond Blood, PI Dana Bowman meets Det. Sgt. Donald Fielding for the first time when her house is broken into. I show it from Dana seeing Fielding from the feet up as he comes down the basement stairs. The two clash. Dialogue and action show this and builds suspense about what could happen later on with two strong personalities trying to solve crimes when they can’t even agree on what crime happened in Dana’s basement. You can also have characters make snide remarks about another character’s hair or clothes. That would tell you something about both characters. Some narrative is necessary, but don’t drone on.
  4. Same can be said for settings. Nothing is more boring than reading paragraph after paragraph describing the main street of a town or the town itself. You aren’t writing a travel piece: you’re writing a novel or short story. In my Beyond mystery novels, I don’t just describe the town of Thurston, Ontario (fictional town), but have Dana  or her twin PI Bast  actually drive down a street, Suspense could be someone following Dana or better still she thinks someone is following her and dodges all over town to ditch the person. Or there is a collision – accident or intentional? Or if one of the twins goes into a shop or restaurant, I work in the location and relevant characters inside. “Relevant” is the key word. .

Visualize what you want and then write it for the reader to get the picture Remember: show, not tell the reader.

These are just a few suggestion. I also suggest you read published books by authors in the genre you are writing – authors who know what they are doing to create suspense within the mundane. Sometimes the latter is the most frightening.

If you click on the Beyond Blood novel above it will take you to more information about my Beyond books.

Cheers.

Sharon

 

Tags: , , , , , , , , ,

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

 

 

 

Tags: , , , , , , , ,

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

 

 

Tags: , , , , , , , , , , , , , , ,

Writing fiction from anger

Cover of Sharon A. Crawford's mystery short story collection. Click on it for publisher's website

Cover of Sharon A. Crawford’s mystery short story collection.

Do you get angry at the crap that happens in your life? Some stupid motorist running a red light nearly hitting you when you cross the street? You or a family member keep getting sick or suffer a serious injury? You get a lot of “junk” phone calls and/or emails? Some utility has messed up your bill? Your garbage isn’t being picked up but all your neighbours’ garbage is? And customer service for the latter two is rude and unhelpful. You get the picture. You feel a swirl of emotions and often anger is at the core. Maybe you even want to kill the person causing the problem – or making it worse.

Don’t do that.Instead  write about it. I don’t mean a play-by-play of your situation – but fictionalize it. One way to do this that can work very well is writing a noir satirical short story.

I do that all the time. Many of my stories in Beyond the Tripping Point are based on something bad that happened to me or someone else or something that really makes me see red, purple, and blue. Examples from BTTP include The Couch, For the Love of Wills, and No Breaks.

Currently I am writing a short story about something I have been (and still am) inundated with – telemarketers. Usually I ignore them or pick up the phone, get sarcastic and tell them off, then bang the phone down. But many of these telemarketing calls are also scams and are computer-generated, so you get a recording – which if you don’t pick up the phone will actually go to your voice mail.

So, I’m writing about telemarketers and two women’s revenge of one telemarketing company. But as I write mysteries, it is not that straight-forward. The characters are not me or anyone in particular in my life. However, I have used one tactic that I did in No Breaks – two female friends, but not the same two friends. And I make it humorous, quirky and yes sarcastic. Does the telemarketer get just desserts? I’m not telling – that will come out whenever the story gets published.

To get started on that you need to develop your quirky characters. One or both are victims of the problem and one is usually not so smart or sophisticated as the other. It works better to tell your story from the point of view of the victim who isn’t as savvy as the other one. And you need a villain or two – and if writing a mystery you need some red herring type of villains. Depending on your story you might need a police officer. In my telemarketing story I do have a police detective Larry Hutchinson, who made his first appearance in “For the Love of Wills” in Beyond the Tripping Point.

You also have to develop a plot – based on your characters and their situation.

As regular readers of this blog know from previous posts, I am a seat-of-your-pants plotter. I take my characters, my idea, figure out a few plot developments and then run with it. I let the characters (particularly the POV one) take over, along with what happened to me in real life – which is also in my mind.

I also keep focusing on how much fun I am having with the bad guys getting their come-uppance.

Of course, the plot isn’t that straightforward – like real life it gets messy and goes on tangents. But in the end if the baddies get their come-uppance, that is good. Because in real life that often doesn’t happen.

As an old boyfriend once said, “Life is not fair.”

That’s why we have fiction – to at least right some of these wrongs.

And as usual,if you click on the book cover at the top of this post, you can link to more info about it and Beyond Blood.

Cheers.

Sharon

 

Tags: , , , , , , , , , , ,

Writing the right story beginning

Amazon.com link to Sharon A.'s short story collection

Amazon.com link to Sharon A.’s short story collection

If you have ever started to read a novel and became bored by the end of paragraph one, it might not be that the story is dull. There is a good chance that what you are reading isn’t really the story’s beginning.

One story beginning, particularly with novels, that has me yawning is the big character background story. Or the big travelogue of a city or a town. As my old journalist and creative writing instructor would say, “So what?”

You can start with character or setting or both together. The trick is to bring in something about your story. Something that will grab your reader. You need a good lead (or “lede” as it is sometimes spelled), as we old journalists call it.

I was a freelance journalist for 35 years and writing a good lead for my articles was very important. Otherwise it was impossible to write the rest of the story. The lead lets the reader know something about what the story is going to cover and teases them in to read all the details.

So when I write fiction or edit other authors’ fiction, I always pay attention to the lead. Sometimes the lead is hidden a few pages later or even a few chapters later. One author’s novel’s actual lead was a chapter near the middle. She needed to pull out that chapter and a few after it and bring them to the front. And then do some rewriting.

Rewriting, of course, is always necessary when writing fiction and ho-hum leads can be fixed then.

Off the top of my head here is an example of a bad story beginning.It is made up and not from any client’s fiction or any of mine.

Ellen was born in 1960 in the town of Crystal, the third in a family of four siblings. Her mother was an Osborne before her marriage to James Clark. She was a shy child who didn’t say much in school but she always got good grades. Her mother was also quiet and her father spoke in a loud boisterous voice. Ellen’s two older siblings, Daniel and Robert, teased her. Her younger sibling, Gail got on better with her brothers.

And on and on ad nauseum.

Do we really care about Ellen and her family?

Let’s see what we can do with that beginning – if we want to get some family background in and make it relevant to the story. If we want to make the reader care about Ellen and her family and read on. Something like this:.

Ellen Clark had always been shy and withdrawn. Until now. If her older brothers, Danny and Robbie, could see her now, they would be sorry they spent her childhood teasing her. They would be proud of her for what she just did for them, for her, and for the rest of the family. Especially Gail. Poor Gail. Best friends with Danny and Robbie had not helped Gail.

Ellen smiled as she looked down at her feet and what lay there.

Or something like that. Hey, I write mystery fiction. Anyway, let’s compare the two story beginnings. We still have Ellen, her shyness, her two brothers and the fact that they teased her and her sister Gail hanging out with the two brothers. We don’t mention Ellen’s birthday year or the town,  or her parents names or their main traits. That can come later. We have woven in a few things to tease the reader in. What did Ellen do just now? How did she go from being shy and withdraw to taking some kind of action. And what about Gail or the parents? What is lying at Ellen’s feet? Or should that be “who”?

This is the type of lead to draw in the reader. Even if you are not writing a mystery, a story needs some suspense, which could  very well be about the relationships in that Clark family. Or it could be something else – whatever your imagination conjures up.

I’ll end with the beginning of one of the short stories in my mystery collection Beyond the Tripping Point as it does have some family background woven into it. And I’ve used another technique to start the story and then pushed into the family background.

“The police can’t find her, Ms. Bowman,” Robin Morgrave says.

Rosemary Morgrave has gone missing and I’m putting on a brave smile for her twin brother. Robin sat on the other side of the desk in The Attic Agency’s third floor office. Only my twin brother, Bast, nodding, stops me from losing it. Ever since David, my seven-year-old son, was abducted last August, I’ve been living in Panicville.Sure, we got him back, but how much of him returned? He follows  Bast around like an investigator-in-training. His brown eyes stare right through my soul.I wish he’d just say how he feels. But since his return, David hasn’t opened his mouth except ti swallow liquids and food. He doesn’t even cry. (Excerpted from Beyond the Tripping Point, copyright Sharon A. Crawford, published  by Blue Denim Press, 2012).

You can pick it apart and try to guess what will happen in the story. Or you can read it. If you click on the BTTP icon at the top of this post, it takes you to my Amazon profile as well as to information about Beyond the Tripping Point and the novel (with the same three characters) Beyond Blood.

Cheers.

Sharon A. Crawford

 

 

 

Tags: , , , , , , , , , , ,

Working birthdays into your novels

The latest Beyond book in the series

The latest Beyond book in the series

Probably because today is my birthday it got me thinking about how to work in birthdays for your main fiction characters. Doing something different in the plot instead of just the character having a birthday party. Or in the case of the fraternal twin PIs Dana  Bowman and Bast Overture in the current Beyond mystery (which I’m still rewriting) who turn 40 in the book. I am avoiding the cliche throw a 40 surprise birthday party. I have also added in that their birthday is December 31 so we have New Year’s Eve as well. Double celebration here, but not just party- party – there are plot twists and revelations and I’ve put all this birthday/New Year’s Eve stuff at the end of the novel. And it is not only December 31, but December 31, 1999 so going into the new (then) 21st. century.  Bast is a computer geek so some of us will remember the big Y2K scare at that time. Yes, that’s involved but I’m not saying how.

What I am saying is there are ways to incorporate typical life happenings and events into your novel but be unique in your plot about it. Another example from this Beyond book is the pushing 40 syndrome, although in 2016 it might be “pushing 60” not 40. Remember my book set in late 1999. Yes, the twins have some anxiety about reaching the big 40, but it’s more than that as both have life intervening events that play a part in their angst. Especially Dana.

And I’m not saying what. Just a few tips to sum up how to incorporate normal life events into your fiction.

For specific holidays, have something different about them and I don ‘t meant just the location. Christmas is a big one. I jump from mid December to New Year’s Eve with just a sentence referencing Christmas in that chapter. While I love Christmas movies – olnd new – I think Christmas plots have been overdone, at least in film. “Different” is the key word here.

For characters birthdays, again, make it different and that can be done by tying it into the plot. Your character pushing 40, 50 or whatever, can help them decide to make a big change in their life – but what is the change? Depending on the genre, they might want to let their inner desires come to the surface and act on them. Use your imagination for what that can be.They might be so fed up with their life situation (which will be in your plot) they decide to disappear for good. Instead of telling your story from the other, main characters about after the character disappears, why not go with the disappearing character and what he or she is dealing with. Is it as he or she expected? Or different?

“Different” again is the key word here. You don’t want to write the same old, same old. So brainstorm. Let your mind wander. This often works best when you are doing something else. You know when you are trying to think of something (with me it is people’s names, a sure sign of getting old(er), don’t think about it and it will come to you.

Having said that, just the act of sitting at your computer and creating and getting in that well, creative – out-of-your-normal- world zone can also bring about some interesting and different plot ideas. Is your character directing this? Maybe. Sometimes I think Dana Bowman is in my head. She certainly thinks she is.

Happy and creative writing.

Cheers.

Sharon

And the  usual, click on the Beyond Blood graphic at the top to go to my author profile and books and where to purchase. Christmas is only 25 days away.

And I don’t have most of my Christmas decorations up. Too busy writing and editing.

 

 

 

 

Tags: , , , , , , , , , , , ,

Rewriting Novels Using Both Sides of the Brain

Sharon A. Crawford's latest in the Beyond series

Sharon A. Crawford’s latest in the Beyond series

Rewriting a novel can be daunting, especially with the many, many rewrites that are necessary. I find there is no right way to do it, but with all the rewrites with my third Beyond book, I discovered by accident a way to be both creative and practical.

Use both sides of your brain – the right side for creativity and the left side for the logical and practical. Let me explain.

Without giving away the plot, let’s just say, like most of my story lines, it is complicated. That means the characters, like real people are complicated.

So I brainstorm outside of writing time for what I could change. When I sit down at the computer, I re-read all the novel and make a few notes. Then I tackle it from the beginning, dealing with it in parts. As I write more ideas come into my brain. But each idea leads to something that will have to be added or changed later on in the novel. So how do I keep track. Sure, I can make a few notes in another file, but mainly I use the Word comment for this with some suggestions.Then I can go back and update later. However, often the creative spirit married to the logical spirit moves me to do so right away. So I follow the thread to the next part that needs changing and do so.

I’ll give you one example which won’t give the story away. My Beyond novels, as well as four stories in Beyond the Tripping Point, feature fraternal twin private investigators, Dana Bowman and Bast Overture. While they partner in their business, they do split up the investigation a lot of the time. One of the things with this is the twins have to keep each other updated with what they find. So that has to go in somehow somewhere or else later on I will be writing from say Bast’s point of view as if he already knows what Dana found out – but nowhere does it say this.The reader can’t assume Dana told him. But I don’t always want a long dialogue between the two unless it can move the plot forward and/or develop the characters.

So, I sometimes use the phrase “Bast brought Dana up to speed about….” or “Dana brought Bast up to speed about…” Sometimes I don’t even do that but just have Bast in his next investigative action think “Dana had told him that… ” and very briefly mention it. I  do the same with Dana and do so when what one twin told the other is relevant to the other twin’s current detecting.

But with all this to-ing and fro-ing something else different has come up – what would happen if one twin didn’t tell the other twin what he or she found out?

Yes, it can be a somewhat constant shifting to different parts of the brain and I find that one feeds the other. And often you are rewriting on the creative side during most of that day’s writing time.

Now if I can just follow through with my rewrite of Beyond….  Nope, not even giving away the title.

Meantime, you can check out Beyond Blood and Beyond the Tripping Point. Link to all that can be found in the usual spot – the book cover at the top.

And later this month I will be back on the PR road for the Beyond books, so next week will be updating both the Gigs and Blog Tours part of this blog (a fiction writing workshop I’m teaching in October is already listed) and also the book page of my website. And yes, Dana will be doing another comedy skit gig in late October – this time with a really big twist. Stay tuned.

Cheers.

Sharon. A. Crawford

 

 

Tags: , , , , , , , , , ,

 
%d bloggers like this: