How to Pitch an Agent

by C. Patrick Schulze 

Listen to a PODCAST of this article.

You know what's more difficult than writing a NOVEL? Selling your novel to an AGENT. It's one of the more daunting aspects we writers face.

By nature we writers live in world more solitary than most. We sit alone and clack on a keyboard for hours on end. And welcome the opportunity. It's this aspect of our collective personalities that tend to ensure our strengths lie in areas other than finding an agent to represent us.

However, there's not as much to landing an agent as you might think. All you have to do is sell them on your book. And all that takes is ninety seconds. You can do anything for ninety seconds, right? In four words I'll tell you how you do that.

Fill the agent's needs.

Not enough? Okay. Allow me to outline the agents needs for you. This get a bit deep, so hang on. They need good authors to represent.

Now that I've done the hard part for you, how might you fulfill their needs?

One secret, after you've written that high quality novel of course, is your book pitch. It's that ninety second synopsis of your novel.

Keep in mind a pitch has only one function. To make and agents think, That's interesting.

To convince anyone something is "interesting," you've got to be able to tell them about it. In our world of writing, we explain our books and novels with a book pitch.

With an effective pitch, I'll bet you're eighty percent or more on your way to publication.

So, how to put our ninety seconds of fame to good use? Here's a simple way to do that.

Think of your pitch as your verbal sales brochure. If you've ever studied brochures, you know they say very little but feel very good. That tells us our verbal brochure, our pitch, should be infused with an emotional tug of some sort.

Remember our old friend, CONFLICT? Yep. He comes into play here, too. The secret to your book pitch is conflict.

That is to say, if you want to pitch an agent, just give them a short summary of your PLOT. Mention first what the protagonist desires, why he wants it what keeps him from it. If you get nothing else in, it's okay. It is nice if you give them word count, genre, target audience, etc. If you don't have the time, they'll ask if they're interested.

Now for a couple of other things to keep in mind.

First and foremost, nothing happens until you make it happen. Go to the writers' conferences and set appointments with agents. Pay a reasonable fee if you must.

Keep your pitch itself short. Think three sentences and ninety seconds, tops.

Can you read your pitch to them? Sure. It answers their questions whether you recite or read it. Tell them before you pull out your cue cards, though.

Be sure to point out any connection you have with the agent, no matter how small and to let them know why you chose to speak with them.

If you're not sure how to write your pitch, begin your first sentence with the word, "when" and your second sentence with the word, "can." That'll usually put you on the right track.

Of course, you know this is a business meeting, so treat it as such. Be polite, professional and considerate.

And for my final recommendation, always remember, my friends, fortune favors the bold.

By the way, I've got a joke for you.

How do you pitch an agent?

Why, you wind up and toss 'em.

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the now-at-the-editors novel, "Born to be Brothers"

How to Find Your Agent

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Most of us understand the passage to shelf space at the major book retailers is best realized by way of agent representation. And whether a writer wishes to admit it or not, each of us at least fantasizes about seeing our titles on the stores’ shelves.

So, how does an author find an agent to offer representation? This isn’t so difficult, though it does take time and effort.

It goes without saying you first must have mastered the craft of writing, with all that entails, and have that well-written book or novel completed. After all, an agent can’t ask to represent you unless you have a quality product they can sell for you. However, once you’ve traversed that long, arduous path of writing, it’s time to look for your agent.

A first priority is found in your professionalism. Few louts will ever receive an offer. Think of it from the agent’s perspective. Would you rather work with an idiot or a professional? So would they.

Next, you need to take the time to focus on the right kind of agents. Take careful aim at those suitable agents who might offer you the best chance of representation. The shotgun approach, that is querying every agent that might still live and breathe, will only waste your time, ego and money, not to mention the time and money of the various agents. Your purpose is to identify those agents who are most suitable to your novel or book, those who represent your genre. 

Here are some tips on how to find the right agents.

If you’re unpublished to date, a great way to find your agent is at writers’ conferences. (Check out James River Writers for a great one in central Virginia, USA.) Focus on those agents who represent your genre and those with whom you’re a match on a personal level. Don’t forgo the personality match. It’s kind of like getting married to the wrong person.

There are any number of literary publications that can point you toward that perfect agent. They include, Writer’s Market, Literary Marketplace, Publisher’s Weekly, Writer’s Digest Magazine and the current Guide to Literary Agents. Pick up or check out these and other literary sources at your local library. All of these publications can assist you to identify those agents who might be interested in your novel.

Review books of those authors who write in your genre, then read the acknowledgment section. Quite often a novelist will mention their agent in this part of their novel. Those identified are, without question, agents who accepts your genre.

The Internet is loaded with sites to help you find that one agent you need. Consider Agent Query, or The Society of Authors’ Representatives . Google “literary agents” and see what else you might find.

Network with other writers. Join a local writers’ group or two and become active in those groups. Being active is the secret to become known within these organizations. The membership should include a number of published authors and after they get to know you, they may be willing to introduce you to their agents.

Join one or more of the hundreds of national and international writers’ associations such as Poets and Writers, National Association of Women’s Writers or The Association of Writers & Writing Programs. Take the time to insure the groups you join are useful to you. Again, after they get to know you and your work, these members may be willing to pass your name along to their agents.

In time, you’ll have a list of potential agents developed. Once you do, organize it according to those who best suit your needs. If you’re an aspiring author, the secret is being honest with yourself. Look first to those who don’t represent the biggest names in the business. Try to find those agents with a bit of experience, but who still seek new authors to represent within your genre.

Once your list is complete and organized, it’s time to query. After that, it’s time to wait. On them, not on your writing. It can take months to hear from an agent, so here is where your mother’s warning comes into play: patience is a virtue. In the mean time, work on your next novel, enhance your education and so on. Just keep writing.

Once you do receive that first exhilarating call, be particular. The wrong agent can be worse than no agent at all.

Best of luck with your agent search and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

The Keys to Effective Dialogue in Novels

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Dialogue is one of the premier aspects of your novel and every word of it should have a reason as to why it exists within your manuscript.

The reasons for dialogue in a fiction are varied, with the major goals listed below. 

1.  Provide backstory 
2.  Reveal a character’s personality, internal conflicts or mental state 
3.  Establish the tone or mood of a particular point in your story 
4.  Provide for character motivation 
5.  Build reader empathy 
6.  Build or expand on conflict 
7.  Move the plot forward 
8.  Increase or decrease the pace of your novel 
9.  Tweak the reader’s memory of past events within the novel 
10. Foreshadow Event yet to happen

If your dialogue does not perform one or more of the above functions, you can most likely delete it from your manuscript. A good test is to read the scene without the questionable dialogue and see if your story, or any critical plot points, are affected. If they are not, cut the dialogue.

Here are some tips for creating better dialogue.

Punctuation Counts

I hate to say this, but punctuation is key to effective dialogue. If you do not follow grammatical rules, your dialogue may not read as intended.

A quick example:

            “Maggie said No I will not go with you.”

In this case, it’s difficult to understand if Maggie said the words or if someone else said Maggie said them. This distinction may have quite the effect on your story. As written, it holds little or no tension, whereas in the corrected sentence below, it implies danger and a more exciting plot.

            Maggie said, “No! I will not go with you.”

For more on dialogue punctuation, read THIS blog post.

Dialogue is Different

Dialogue happens when a character speaks, of course, but the secret is to not write so your characters speak the way people do. The secret is to write so it sounds like people speaking. It’s a tricky thing to do, but an essential aspect of writing effective dialogue.

You’ll find people speak in clipped sentences peppered with, “um’s” and “ah’s” and the like. You’ll also find they speak in incomplete sentences, incomprehensible grunts and all sorts of other communication you cannot use in your manuscript. Further, and this is fact, ninety-five percent of the time people don’t answer the question asked. (Yeah, that’s true.) If you were to write as people speak, your reader would get bored at once and put down your book. Worse, they’d not recommend it to others.

So, how do you interpret speech to read as effective dialogue? The secret to translate natural linguistics into dialogue is, cut all the dull parts. (I think it was Alfred Hitchcock who first penned that phrase.) If you study the way people speak, you’ll learn the dull parts are most of what they say. Once you’ve identified and eliminated all the inconsequential words, which is most of any actual discussion, you’ll be left with the meat. And the meat is all that goes into your novel.

Here’s an example of how a real conversation might sound and how it could be altered to read as effective novel dialogue:

John said, “What did you do today?”

Mary answered, “Uh, nothing really. I went to the store, bought a pair of black slacks. What did you do?”

“Not much.”

“Oh, by the way, did you know I ran into Sara while I was shopping?”

“Sara!” John was surprised to hear her name.

When you read this exchange, you’ll notice the tension rose when Mary mentioned Sara’s name. In that case, Sara is the turning point to this exchange and the only part of this conversation necessary for novel dialogue.

If you compare their conversation with the purposes of dialogue listed above, you’ll see much of this exchange need not be included in your novel. If you eliminate the “dull parts” the result would cut fifty-one words to twenty-one and might read as follows:

John said, “What did you do today?”

Mary answered, “I ran into Sara.”

“Sara!” John was surprised to hear her name.

Compare this second exchange to our ten reasons to include dialogue in your novel and you’ll find it adheres to seven of the ten rationale on the list.  Can you identify the seven it does match? If so, you’re well on your way to understand the use of dialogue in novels.

Once you’ve learned how to write effective dialogue, you’ll see there is a secret in how it relates to your plot. As with the mention of Sara, turning points are often found within your dialogue. That is, things don’t often just happen to characters, characters tell each other what transpires or is about to transpire.

A “rule” found within the craft of writing says dialogue should comprise as much as fifty percent of your book, specifically your word count. Now we all know there are no rules in writing, but the idea does offer an indication of how powerful and meaningful dialogue is to your novel. Therefore, it is one of aspects to the craft of writing you should spend a great deal of your time to study and learn.

I hope you know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

Tips on How to Create Your Novel's Opening Scene

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

We all know readers must be spellbound by the very first scene of a novel. In fact, so say industry sages, the first paragraph can lose your reader. (That’s true, by the way. I’ve done it.) Further, an author should spend more time on their first line than any other in the entire work. Wow! That’s a lot of pressure.

So, just how might one go about creating that initial burst of excitement?

There are any number of options open to us as authors, but here’s your list of a dozen that, if crafted well, should offer your reader a scene to keep them wanting more.

1. Open with the proverbial, “Great Line.” I know, it’s not as simple to do as one might think. To develop this ever-elusive Great Line, compress your novel’s major conflict into a single sentence, then polish. Here’s one of my favorite. “When I was little, I would think of ways to kill my daddy.” How’s that for grabbing the imagination. (Interesting, don’t you think, how I fail to remember the book or the author, but not that line? Maybe it’s because I have children?)

2. Have the bad guy show up early and in a big way. Your opening might start something like, “The assassins bullet…”

3. Begin your scene with the likeable hero. If you do this, it’s a good idea to include his worthy goal, too. Think along the line of, “She understood early her son’s endearing smile was due more to a weak mind than a sense of humor. Motherhood would be a joy and a challenge.”

4. Introduce humor in the opening paragraph, but insure it fits your audience. Toilet humor might work with the preteen genres, but the church elders will probably, uh, “pass.”

5. Incorporate a feeling of danger right away. “He saw men on horseback, riding hard, their mounts kicking up a swirl behind them.”

6. Write a scene that’s easy on the senses. Make it natural but lyrical. Paint a picture with which your audience will identify. “The landscape looked as if an artist had brushed his fondest vision of nature on the canvas.”

7. Introduce an ominous foreshadowing. “Carrion birds floated in a languid circle off to the south. Something was about to die.” Those, by the way, are the opening lines of my emerging novel, Born to be Brothers.

8. Begin with formidable obstacles your hero must face and overcome. “Tired, bloodied and winded, the soldier crested the hill only to find the enemy dug in on yet another ridge to his front.” Of course these need not be physical barriers, but you get the idea.

9. Use immediate action. Explosions are always exciting, though somewhat overdone these days. It can be an argument, a personal conflict or facing humility. Just make is pop right away.

10. Open with a high level of tension. Use a heavy dose of emotion mixed with high drama. Think of the last argument you had before you demanded a divorce. That’ll get ‘em worked up.

11. A representation of an appealing setting might work for you. Consider your “safe place” in all its glory and invite your reader to join you.

12. You might try an effective joining of humor and tension. “When the bullet ripped into his flesh, he knew the day was not going well.”

So there ya go. A dozen easy openings to hook your reader and sell more books. Good luck.

I hope you know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

The Secrets to Pace in Your Novel

By C. Patrick Schulze

To listen to a podcast of this article, click HERE.

As you write your novel, you’ll find conflict is a key tool in developing the readers’ interest and conflict goes hand-in-hand with the pace of your scenes. If what I call the Read-Speed is slow, the impact of your conflict is much diminished. Further, as an author, you should pay great attention to the speed at which your novel reads. If it’s overall pace or Read-Speed is tedious, the reader will set your book down. Now, there are any number of techniques by which an author can increase the pace of his story and I’ll cover some of the best in this blog post.

One often ignored practice is to manipulate the amount of white space on the page. To clarify what I mean, imagine a sheet of paper filled with text, top to bottom, side to side, one line after the other without breaks. You can visualize how this would overpower the reader, slow the pace and make for difficulty when reading. In contrast, white space makes for a faster read and a better rhythm. The mere fact the reader flips the pages more often also gives the illusion of speed.

Write in short, choppy sentences, in particular when employing dialogue. Your sentences should be meaningful, of course, but quick lines make for faster reading which, in turn, increases the tempo.

One secret often missed is working with sentence fragments, which work well to increase the pace of your writing. Of course, fragments are frowned upon in the writing world, yet the judicious use of them can be quite effective. In those nail-biting scenes that hinge upon the conflict in your novel, well-used and well-positioned fragments can increase the excitement, and thus, the pace of the conflict. Always. Every time. Like this. Use discretion, however, for you can lose control if you’re not careful. In fact, I reviewed a book the other day and put it aside after reading the first paragraph. Its one-sentence construction covered at least two inches of page space, contained four hyphens and three semicolons. It was absolutely unintelligible. The moral is exercise caution when writing in sentence fragments.

You can utilize shorter words to boost the tempo of your story. Anything that slows your reader, slows the pace. Review your four or longer syllable words and consider replacing them with diminutive, or rather, shorter and easier to pronounce synonyms. For example, you might reconsider the use of the word, “antagonism,” when “anger” will suffice.

Be cautious of argot the middling may not twig. That is to say, don’t use terminology your average reader won’t understand. When you force them to take their mind off the story and focus on individual words, their reading slows to a snail’s speed.

Consider the power behind the words you choose. (How many times have we heard this one?) Does your character dream in nightmares or is he haunted by them? I think you can see the power in the word, “haunted” when compared to, “dreams.” As to verbs, consider the difference between someone who “falls” to someone who “collapses”. Falling could mean anything from tripping to going over a cliff. In contrast, “collapse,” assuming it fits the scene, indicates loss of bodily control. If there is no chance your reader will misinterpret what you wrote, they won’t have to reread a sentence to make sense of it. Anytime they reread anything, your pace suffers.

Don’t retell information. Your reader already knows what happened in prior chapters. To loop back to an earlier point in your story will simply slow the reader, and your plot.

Use active voice. Passive voice is a slower read. “He was planning to do the work,” reads slower and with less strength than, “He planned to do the work.” Take your time to learn about active voice. It’s a powerful tool to use when writing your novel.

For more about this subject, consider THIS POST by Gail Martin in her blog titled, “Novel Journey,” or THIS ONE by Roz Denny Fox at her romance blog, “Desert Rose.”

Look to the pace of your novel and your audience will offer better word of mouth advertising in return.

As always, I wish you best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

How to Write Battle Scenes

How to Write Battle Scenes

By C. Patrick Schulze

Listen to a podcast of this article here.

There are two basic types of battle scenes. There is the one where an individual combatant engages in a fight. There are also those epics where generals maneuver grand armies over the countryside. Though both of these scene types have great similarities when it come to your writing, today we’ll discuss a scene in which one or a few soldiers is involved.

Battle scenes are unlike other scene types as they have a trickier side to them. They utilize a different construction and fewer words to move them forward. These scenes are all about speed, strength and emotion.

However, as with any scene, it must have meaning to the story and move the storyline further toward its conclusion. Does the battle offer a plot twist perhaps? Does it help the hero grow? Might it enlighten your reader to more of your hero’s personality? Like all writing, these scenes should also utilize your characters’ five senses. And don’t forget about point of view either. It is as critical in battle scenes as any other. For example, how effective would an ambush be if the hero knows it was about to occur? Of course, this part of your novel must be well-written, punctuated with accuracy and all those other things novels require.

Write only about the action and trim out everything not related to the moment in time. In battle scenes you’ll employ fewer words than with your normal writing. Adverbs will become quite scarce as will adjectives. Also, search out specific nouns and verbs. You’ll find great command over your words if you choose that unique verb or noun for the situation at hand. For example, soldiers don’t “run” across a field, they “charge” or “rush” or “dash” across it.

The use of emotion is THE component you need to emphasize in writing battle scenes and you should employ all your powers of persuasion at this time. Though James Bond or Patton may be your exceptions, your characters are not indifferent to combat. Even your heroes will be utterly terrified. And consider the emotions of those at the home front. If you fail to bring their feelings into play, you’re missing a powerful plot point.

One powerful tool at your disposal is sentence structure. Your sentences should imitate a sword fight; furious, short and brutal. Long passages slow down the novel, whereas short, choppy ones increase the pace.

Dialogue is another tool that can enhance, or destroy, your action scenes. First of all, you should work for a bit of realism here, so please, no snappy comebacks. Keep your characters’ dialogue to the point. When a soldier is under fire, he’s not joking to his buddies about a YouTube video he saw last night. Nothing is on his mind other than the events swirling around him.

Now for some general tips.

Remember, this is a novel, not a flicker show. Though the slashing sword is important, the character’s reaction to that event is more so.

Insure your villain is worthy. Nobody’s impressed when your hero fights a challenger who is without adequate weaponry.

Don’t write about David and Goliath. That one’s been done.

Whether writing fiction or nonfiction, large battles or single combat, draw a map of your battlefield. It need not be of high quality, but you’ll be surprised as to how much this can help. Use photos of sites whenever possible. I travel to the actual battlefield where my combat occurs and take photos. I then place them on my screen when I write my battle scenes and refer to them often. You’ll be amazed how something as slight as a slight rise in topography can come into play in this type of writing.

When men are wounded, only four thoughts crowd their minds; what parts are missing, will they die, water and family, not necessarily in that order.

In a fight, if someone receives a minor wound, he doesn’t stop to look at it, touch it and study the blood on his fingertips, show it to his enemy and scowl, step back, retake a fighting stance and egg on his opponent with a flip of his fingers. The instant he looks down, he’s dead. That’s it. Keep it moving.

Adrenalin and panic can overcome only so much. Minor injuries won’t be noticed, more serious injuries will stun a combatant, if stop him. Characters run out of breath, they bruise, they bleed. Write to the realism. 

Well, I could go on and on about this as battle scenes are my forte, but for the sake of word count, I’ll stop. I do hope you’ve picked up something of use to you.

You know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

Tips on Building Your Author’s Platform

Sitting at a keyboard and typing is only a small part of the industry in which we all work. We’ve all volunteered to participate in The Business of Writing, yet most of us either miss or ignore a major component of what it is we must do to become successful at the craft of writing. That’s marketing our novels. I’m sorry to say, if we ever wish to derive enough income to worry about from those many hours staring at a computer screen, we need to learn how to market, or get the word out about, your writing.

Marketing leaves a bad taste in people’s mouths and I think it’s because they either don’t understand what it is or how to do it. Many people confuse marketing with sales and envision themselves having to don a used car salesman’s plaid coat to hawk their books. Not true. Marketing is simply letting people know your novel or book, exists. In fact, today’s marketing is all about the soft-sell. You establish yourself as someone to know and your prospective readers sell themselves.

Once you decide to market your wares, you have two major choices from which to choose. Hire a professional or do it yourself. Hiring a professional like BookBuzzer or TheCreativePenn is an excellent idea, but it takes money. A quality marketing expert is worth their weight in gold, but like anything else, you’ve got to have the money to make the money. Should you choose to do it yourself, you’re facing quite a row to hoe, but it’s doable for anyone with a bit of time, willingness to learn, dedication and a propensity toward hard work. Today, I’ll offer you a few of the best tips for marketing your book on your own.

First of all, like any endeavor, you need both knowledge and a goal. Your goal is easy. Indentify your target market, those people who might buy your book. Well, it’s a bit more involved than that as you also need to know their demographics such as where they live, how much they earn, their ages, their genders and the like. You should have derived this information even before writing, but developing your market is first and foremost. How to determine your market is beyond the scope of this article, but post your questions and I’ll be glad to help.

Once you have your target market identified, how do you reach them? Well, today the secret lies hidden within technology. It offers us exciting, inexpensive and effective avenues by which to reach your market.

Your first marketing step as a writer involves blogging. It’s today’s preferred methodology to getting noticed. Check out Wordpress or Blogspot for no cost options. Read this article for ideas on how to build your blog readership.
You should also get involved with Twitter and probably Facebook. If you write nonfiction, consider Linkden, too. Identify your specific target within these sites and learn how to use social networking to your advantage. Readers are more prone to purchase your book if they know you as a person. Be cautious however, and don’t’ introduce them to too many of the skeletons in your life. They don’t want to know you that well.

Become a member of niche market sites like Chowhound.com (food and feasting), LibraryThing.com (books & novels) and Yelp.com (metropolitan trends cities). It’s here you’ll find people interested in your genre of writing.

Participate in other writers’ blogs. This is quite effective in enhancing your viral growth as it exposes you to a wide number of people with whom you’d not normally connect.

Publish articles to sites such as Ezine, Scribd and Isnare. They might develop readership numbers that will amaze you. Be sure to have a resource box at the end of your articles listing all those many ways people can reach you.

Learn to use Google Analytics. This will inform you as to who refers readers to you. Visit those blogs and get involved. As long as you leave links as to how they can find you, this is a another proven method to build your audience.

Be sure to educate yourself on the use of keywords. Strong keywords allows Internet uses to find your blog, your web site and other tools you employ to sell your books. A bit of research on the Internet will teach you all you need to know about them.

Search out the better book reviewers. Word of Mouth will sell more books than anything else. Review Amazon’s Top 1,000 Reviewers and ask those interested in your genre to put out a good word for you.

Do you belong to a church? Live in a condo association? Edit their newsletters and everyone there will learn you’re a writer.

If you work these and other avenues well they can help to get your book sold. Yes, it takes time, knowledge and effort, but without either professional on hands-on marketing, your book will likely languish.

Best of luck with your marketing efforts and let me know if you have any questions.

In the mean time, I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”

The Power of Subplot

Listen to the podcast of the article HERE.

To understand subplot, let’s first delve into the concept of plot. The main plot is the framework or storyline of a novel. It is the series of events that happen to your protagonist. In most novels, it can be summed up in one sentence. Think about Margaret Mitchell’s book, “Gone with the Wind.” Can you compile those many pages into a single sentence? I have no idea what Margaret Mitchell’s one-liner might be, but I’ll give it a go. How about something like this? A genteel woman of the old South must learn to cope with the ravages of civil war.

In like manner, subplots are lesser series of events that interweave within the main story. They, too, can be subjected to the compression of a one-liner. Looking to “Gone with the Wind” again, we find a number of subplots that Ms. Mitchell melded into her novel. For example, before and after the war, Scarlett’s love for Ashley as well as Rhett creates great conflict in her life. She also deals with a relationship with Melanie, Ashley’s wife and even a father who has slipped into insanity.

When you interject subplots into your novels, keep in mind they must maintain a direct connection to the main plot. They add substance and enrich the main story as they interlace within it by way of their relation to it. They do not stand on their own nor do they, as a rule, have a direct impact upon the plotline. Look at it in this light. If your plot is a haunted house, the subplots would be the ghosts that waft from room to room. They are part of the house, but the house stands with or without them.

I see two key reasons to interject subplots into your novels. They offer character contrast as well as enhanced conflict. My current manuscript, “Born to be Brothers,” is about the love triangle between two men and a woman. One of the subplots comes into play when war breaks out and the three must decide where their loyalties lie. War brings out the differences in people every time and increases conflict by its very nature. For another example of conflict offered by subplots, consider the Harry Potter series. The story is about Harry, of course, but interwoven is a subplot based on Hermione’s crush on Ron. Though Harry’s adventures continue unabated, the girl’s sentiments toward Ron take over entire scenes at times.

This brings us to the structure of subplots, which have the same configuration as your story and its major plotline. That is, they have starting points, middle points and outcomes. Within this, they have turning points, moments of great peril and questions answered. Yet, despite everything, they consume less of your word count than the main plot.

Should you decide to introduce a number of subplots, keep in mind one is premier to the others. You should have one foremost subplot and a couple others of lesser impact. A general rule is to have at least one scene relating to the subplot(s) in each act. (Most stories have three acts, but that’s another post altogether.)

One aspect of subplots I appreciate is they allow a lesser character to take on a larger role when the major plotline fails to offer that opportunity. Think of Prissy, the house slave who lied about her experience with “birthing babies” in “Gone with the Wind.” That minor subplot holds much more of our memory than it deserves when you consider its relation to the major plot line of that book.

Subplots, should you wish, can have a major impact on the main plot and are most effective at this when placed at the end of the story. For example, If you’ve read the original Frankenstein, you know a servant girl hovers about the story almost without purpose. In the end, however, the mad doctor uses her body to create a creature-wife for the monster. A very minor character turned into a major subplot at the conclusion of the novel.

Now, would you like to know the true secret to a subplot’s power? They are all about relationships. I’ll bet the light just went on for some of you, didn’t it?

As an author and writer, you can embellish your story with depth and life by the effective use of subplots. Take some time to intertwine them in your books and your readers will appreciate your extra work.

Until we speak again, I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

The Secret to Secrets in Novels

Almost every type of novel can utilize the power of secrets to advance the plot and improve the suspense. Think of how many stories you've read where something unknown pops up in the middle of the book and shifts the entire story to another track. I’ve come up with five ways to use secrets within your novels to enhance your storyline, increase suspense and even help your characters grown and change during the story.

One of the best ways to use the suspense created by a secret is to make it corporeal, something your characters can see and touch. When utilizing this technique, your reader is allowed to share in the secret and all the interest and excitement the unknown brings. It could be a sealed envelope, a person lurking in the shadows, a photo or a diary. It can be anything as long as your reader doesn't know what it represents until you want them to know what it represents. 

You can use a secret as a source of conflict for your characters. How about the husband who comes home late from work and refuses to tell his wife why?  What if a soldier cannot bring himself to talk about a war experiences, though his wife tells him she's heard an ugly rumor about that situation. In fact, this secret could even be your entire novel. Regardless, in these situations you've got something you readers know exists but is hidden from them for a reason they are not yet allowed to understand. They may just read on just to find out what's going on.

A third way to take advantage of secrets is to enhance your climactic scene. How often have you read a novel where just as the hero is about to die, he learns a dramatic secret that changes everything and saves his life and sanity? Personally, I don't care for this use. I think it was Orson Wells who said, and I paraphrase, terror isn't terror unless the viewer knows something is about to happen. As I recall, he used the example of two people sitting at a table with a bomb underneath. There is much more suspense if everyone knows the bomb is there and are waiting for it to explode, than if it just detonates all of a sudden. I feel the same way about secrets. They have more power if everyone is waiting for the proverbial shoe to drop. Regardless my sentiments in this, a climactic secret might be useful to your story and you may wish to give it consideration.

Another common use of secrets in novels is as a vehicle for a plot twist. The secret to this secret is to insure it is truly hidden within your story as you set up your readers for its revelation. In Mary Shelly's Frankenstein, (not the movie versions but the book), the creature threatens the not so worthy doctor with perpetual evil unless Dr. Frankenstein creates another creature, a female companion for the monster. When that comes to light, the entire story took on a new direction. If you can work this tool into your novels, it'll create terrific conflict.

I think the most powerful secrets to use are within you. You've got some, just like everyone else. Why not choose those secrets that inspire your life to inspire your readers? 

If you wish to use secrets but don’t have one in mind, find real life ones at Post Secret Blog for ideas. (This place is interesting.)

I hope you've found something in this article that'll spark a secret for your novels.

Until we speak again, I wish you only best-sellers.

C. Patrick Schulze

Author of "Born to be Brothers"

(Coming Soon.)

Tips on How to Find an Agent for Your Novel

Can a novel writer achieve success without an agent? Of course. All you require are strong marketing skills, a firm grasp of specific technologies, appropriate contacts, a few bucks, a bit of luck, time and perseverance. As you might expect, most of us mere mortals don’t have more than one or two of these, let alone all of them. So, it remains true for most of us, the best route toward success as an author is to place our novel in the capable hands of an agent.

So, how does one go about finding one of these elusive beings? Truth be told? Its difficult. It’s very difficult. However, if you can find that bit of luck, or better yet create your own, there are some things you can do to enhance your prospects.

First and foremost, write that saleable, excellent manuscript to its completion. No exceptions, no excuses. Without a marketable product, the agent has nothing to sell for you and everything else is mute. You may have a magnificent product, but if there is no market to buy it, agents can’t help you. You may have the perfect market, but a substandard novel will never sell. Writing is a business, so deliver a quality product first.

Next, understand two things. Agents are looking for new authors. Every agent wants to land the next Tolstoy or King or Koontz. If you’re not up to the status of these authors, agents will work with you, if you can help make them a living. (No, it’s not all about you and your book.) An agent’s goal is to sell books and they’ll sell your book if you have that marketable product.

The next concept to understand is agents are people too. They’re real people like you and I with children, bosses, vacations, illnesses, bills and all the rest. They’re not horned wild-eyed creatures looking for souls to crush. They actually want you to thrive, for your success breeds their success.

Next, narrow your search to those agents looking for your genre of writing. Consider this. If you’re looking to purchase a new automobile and some guy tries to sell you a table, what are the odds you’ll bite? They’re about the same as an agent who sells children’s books buying your horror story. Don’t waste your time or theirs.

There are any number of avenues by which you might filter the agents to find those who are receptive to your genre. You can start, of course, with the current “Guide to Literary Agents” at your local bookstore or on the web. You might also consider the Association of Authors' Representatives Web site at aar-online.org. There is no limit to the resources available to determine which agent will consider your work. Jump on the Internet and get to work.

Next, research the books the appropriate agents have published. This secret just might be one of your most important aspects to landing an agent, by the way. By knowing the agent’s published works, you can compare your manuscript to those they’ve already sold. When you query them later, compare your work to one or more of theirs. As an example, if your novel has exceptionally strong characters, then compare your characters to one or more books the agent has already represented that also have similar characterizations. This gives the agent a handle on what you have to offer and two additional pieces of information. One, you’ve done your research and are knowledgeable about the industry, and two, they already know how to sell your book to their publishers.

In tomorrow’s post, I’ll continue with this idea and give you more tips on how to influence an agent to represent you.

Until then, I wish you best-sellers.

C. Patrick Schulze

How to Punctuate Dialogue

For many authors punctuation is difficult even without using ellipses, colons and semicolons. Why, even the simple apostrophe is peculiar all by itself. And when you start tossing dialogue around, well, punctuation can get well into scary.

Let’s consider the purpose punctuation serves, shall we? I once heard that all those interesting symbols are the traffic signs of the writer’s world. Interesting analogy, I think. However, in real life, punctuation serves to clarify your writing, improve the rhythm of the written word, defines the structure of within writing and identifies what is being said, as with quotation marks.

To be honest, I’ve looked at this computer screen for an hour or so and still have no idea of how to tell you to use punctuation in dialogue. In lieu of a series of definitions, I’m going to employ a series of examples.

Let’s first examine a typical spoken comment.

A. “Do you see Mary running?”

The punctuation of this is simple enough. Quotation marks belong at each end of the spoken words. Other punctuation, in this case the question mark, is enclosed by the quote marks.

Our second example is the classic “said” sentence.

B. John said, “See Mary run.”

If a tagline begins the sentence, a comma and then a space are inserted immediately after the tagline. The quotation marks are placed around the spoken words. The first letter of the spoken words is always capitalized and the trailing punctuation, in this case a period, is placed inside the quotes. Enter a space for the next sentence as usual.

(See how simple this is?)

The next example shows the same sentence with the tag at the end.

C. “See Mary run,” said John.

The quotation ends with a comma, which is bracketed within the quotes. (As the quote is not the end of the sentence, a comma replaces the period found in the prior illustration.) This is followed by a space and then the speech tagline and your period. As always, the first letter in the spoken words is capitalized.

Let’s now use punctuation in a more complex dialogue environment.

D. John said, “See Mary run,” then he walked to the door.

You can see the same rules incorporated in the first two examples are in play here. The sentence starts with a tagline, which is followed by a comma and a space. Next, open quotes and a capital letter begin the verbalization. A comma is inserted at the end of the spoken words, which is then followed by the close quotes, a space and the rest of the sentence. Note: if the first word after a quote is a proper noun, it is capitalized as with normal punctuation.

We’ll now look at the same type of sentence, but with the tagline in the center.

E. “Hello, everyone,” John said, “we hope you’re having a good morning.”

Getting trickier now, isn’t it? Here we have a situation where quotes begin and end a sentence. Not to worry, the same rules already discussed will apply.

You start the sentence with your opening quotation marks and a capital letter. You end the first quote with a comma and your close quotes, then a space. Next, you add your tagline, which if followed by a comma and another space. This tagline is capitalized only because it begins with a proper noun. Your second quote begins with another opening quote and a lowercase letter. (Unless the second quote begins with a proper noun which would be capitalized.) At the end of the sentence, you close with a period and your close quote. Add one last space and you’re ready for the next sentence.

Whew…

Now let’s evaluate a quote that requires something other than a period or a comma.

F. “I feel so excited!” said Mary.

G. “Are you enjoying yourself?” asked John.

In these cases, where a comma or period does not adequately punctuate the quoted words, you might wish to finish your quotation with a question mark or exclamation point. The secret, as noted above, is to enclose this punctuation within the closing quotation mark. In effect, it replaces the comma we’ve already seen. These spoken words are followed by the close quote, a space and the tag. Don’t forget the entire sentence still ends with a period and your tagline begins with a lowercase letter, assuming it is not a proper noun.

We’ve discussed the spoken word, how then does one handle thought instead of the spoken word?

H. John wondered, Is she enjoying herself?

I. Is she enjoying herself? John wondered.

J. John thought, She is enjoying herself!

In the case where someone is thinking instead of speaking, all the same punctuation rules apply, except you omit the formal quotation marks. Today, some writers italicize the thought, whereas other writers do not. I prefer the italics. You’ll see examples of both options listed. In examples “H” and “J”, you’ll note John’s actual thought begins with a capital letter, as it would if they were spoken words inside quotation marks.

*Take deep breath here.*

Now, for a few other quick tips on how to punctuate the spoken word.

Every time the speaker changes, the paragraph changes.

“Are you having fun?” John asked.

“Oh, yes. A great deal,” Mary said.

John said, “I’m so glad.”

Insure the speaker is obvious to the reader. Taglines are one way to identify your speaker, though they are not necessary with every line of dialogue.

In the following paragraphs, the reader has no idea if it is John or Mary speaking.

“Are you having fun?”

“Oh, yes. A great deal.”

“I’m so glad.”

Taglines after every quote will have a dulling effect on your writing, so you may identify speakers in other ways, too.

Here are some elementary examples.

“Are you having fun?” John turned toward her to ask the question.

“Oh, yes. A great deal.” Mary was uncomfortable with his continued, overt attention.

“I’m so glad.” John felt himself relax when she answered in the positive.

This dialogue is stilted, I know, but it shows taglines are not necessary to identify who is speaking.

The tagline, “said”, also needs careful attention for it is devoid of emotion and can make your dialogue sound wooden and uninteresting.

In the same vein, other verbs often used as tags can be overused. Verbs such as, “shouted,” or “chuckled,” or “sneered” should be judiciously employed. Replace them with sentences as shown in the prior example.

Be creative in so far as placement of your speech taglines.

Though you should use them with care, you may feel free to insert them in various places within your sentences. As outlined above, they can come at the beginning of a sentence, in the middle or at the end.

As your writing improves, you’ll use fewer taglines.

That is to say your writing will exhibit emotion without the need for them. This is often done with preceding or following sentences. An example follows.

“Sure, John, I can see you Friday night.” By the time Mary hung up, she already knew she had the perfect dress for the occasion.

*Exhale here.*

I hope I’ve covered the major aspects of punctuating dialogue for you. If you have specific questions, drop a comment in the box and I’ll be glad to see if I can’t help.

In the mean time, my all your books be best-sellers.

C. Patrick Schulze