10 Top Novel Writing Mistakes

by C. Patrick Schulze

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I don't know about you, but I learned to write, and am still learning to write, the hard way. I made the novel writing mistakes and then figured out what I should have done. I'm certain it's the same for many, if not most, novel writers.

Regardless of how you learn, if you keep your eyes open for these top ten novel writing mistakes, your novel will have a stronger chance of acceptance.

Beyond the common errors in spelling, word use and punctuation, I feel the top ten novel writing mistakes are:

1. Weak Characterization

2. Ineffective Dialogue

3. Poor Plotting

4. Point of View Errors

5. Flat Writing

6. Too Much Backstory

7. Summarizing

8. Failing to Target Your Writing to Your Audience

9. Lists

10. Too Much Description

Let's look at each of these in a bit more detail, shall we?

Weak Characterization: It is imperative you serve your readers a healthy diet of characters with believable motivations, realistic actions and fully formed relationships. You reader needs to know why your major characters do what they do and why they feel the way they do. Read more about CHARACTERIZATION.

Ineffective Dialogue: Dialogue is one of the trickiest aspects to a novel. It must sound like people speaking to each other when, in fact, character conversations are nothing like conversations between people. Your novel's dialogue must be much more compact and plot focused, yet, you must retain the personal aspect of it. Read more about DIALOGUE.

Poor Plotting: Plot is the bread and butter of your novel, and a well structured plot is a blend of art, psychology and the craft of writing. An effective plot requires, pace, motivations, a believable storyline, character arcs and so much more. Read more about PLOT.

Point of View Errors: POV relates to which character sees the action that transpires within your plot. Irregular shifts in POV proves difficult to the reader, and maybe even worse, POV errors can creep into your novel with little trouble. The secret is to reserve each character's POV to a single chapter. Here's more on POV.

Flat Writing: Flat writing occurs when you input narrative or dialogue that has no meaning to the plot. It shows you've lost control over your story due to lack of a plan, lost interest or maybe something as simple as you're tired. When you find narrative or dialogue that doesn't move your story forward, it's time to edit it out.

Too Much Backstory: Backstory is anything that came before chapter one. It's history. The problem is backstory tends to stop the novel's momentum. More often than not, it's not necessary to the story and should be eliminated. If backstory is necessary, work it into your story in small nibbles rather than large bites of information and only after the major plot is developed. There's more on BACKSTORY here.

Summarization: This harkens back to the classic saw of "Show. Don't tell." In lieu of simply stating a fact in your narrative, develop this information by way of character actions and dialogue. For example, don't simply say your character is good at math. Have a scene where his math skills are put to the test and he excels. There's more on "SHOW, DON'T TELL," in this article.

Failing to Target Your Novel to Your Audience: Most writers, especially those new among us, often fail to come to grips with the fact your writing is a business venture. As a consequence, novels are often written without a focus on those who will eventually purchase your product. For example, if your story lends itself to the male market, you don't want too much emotional action. In contrast, if your market is the adult female, you'll not want too much in the way of blood and guts. Save that for your teenage male audience.

Lists: A common sign of a novice writer is his use of lists within their novel. A classic example of this is with the description of a meadow. The new writer will name all the flowers in the field. It's usually better to paint a verbal picture with only a few details and allow the reader's mind to fill in the blanks. In the example of a meadow, you might mention the wavering patches of red and violet as the wind sweeps over the ground in lieu of the list of flowers.

Too Much Description: In the same light as lists, the readers imagination is what makes your novel come to life. Too much description imposes your imagination upon the reader. With this in mind, don't tell him the cloud formation looks like an elephant, unless the elephant is necessary to the story. Instead, tell them the clouds created formations in the sky and allow them to "see" whatever they formations they wish. This will make the story much more personal, and thus enjoyable, to your reader.

Are there more common errors in novel writing? You bet. However, if you focus on these ten early in your writing career, you'll be well on your way to that elusive well-received novel.

Now, which of these errors do you commit and what have you done to fix them?

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

How to Create Characters for Your Character-Driven Novel

by C. Patrick Schulze

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We all know a well constructed plot is the critical aspect of a novel, but the strength of those characters we infuse into our plot can turn a plot-driven novel into something much more powerful; a character-driven novel.

Today I'd like to offer some tips on how to create those people who populate your character-driven novel.

The first secret to strong characters for your character-driven novel is to become familiar with yourself. Yes, you are the secret to your character-driven novel. I know this sounds ludicrous, but most of us do not truly know who we are. We all tend to not face our fears, ignore our weaknesses, think our idiosyncrasies are somehow cute and so on. However, if you wish to write the character driven-novel, learn and accept yourself, blemishes and all.

The first step to create a character-driven novel is to create characters who are important to you. Make them someone about whom you care. You'll write a better character if they make you laugh, cry and all the rest.

Further, try not to place too many constraints upon your characters. In effect, don't outline them in full or force them into too tight a plot. Allow them to toss a surprise or two, or even three, your way as you write your novel. By this I mean, give them permission to take emotional and creative risks. To paraphrase something I read a long time ago, write as if your parents will never read your work. Wow! All of a sudden doors open wide with that thought, don't they?

Next, like all characters, be sure you create these from the inside out and not the outside in. That is, let their emotions rise to the surface. It's fine if they have curly hair and porcelain skin, but it's finer still if they have a dark spot deep in their heart or an unbounded joie de vivre.

The secret to characters who can drive your novel? As alluded to in the first tip above, look to yourself.

Then make a list.

On this list, you'll want to write down five or six of your higher qualities and five or six of those qualities within you of a more base nature. After that, find five or six things you love and an equal number of things you hate. Do the same with your personal goals, your dreams and fears. Finally, include in your list those things in life that have held you back and those that have propelled you forward.

Now, take what you wrote down and distribute those qualities among your characters. Give each character a fear and each a love from your list. Give others your goals or dreams and still others your hates and inner demons. It's best you distribute these various qualities among your characters, though you're free to allocate them as you see fit. Regardless, once you've infused your personal characteristics into your novel's characters, you'll have characters real enough to drive your novel toward the best-seller list.

Now, who among you have additional tips on how to create characters strong enough to drive a novel?

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

10 Tips to Convince Your Reader of Anything

by C. Patrick Schulze

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The craft of storytelling is all about convincing readers to believe what you made up. In the days of our youth we called this "pretending." As adults we call it fiction and pay good money for it. Regardless, Mr. Lincoln Child in his book Deep Storm almost had me ready to believe they'd found Atlantis. How did he do that?

Convincible writing is a learnable skill and there are a number of techniques to induce your reader to suspend belief just enough to buy into your "pretending."

Here's how you do it.

Give Reasons: By nature, people believe things more readily if they have a reason to believe it. More often than not, even a nonsensical reason will work. This gives the word, “because,” a great deal of power. My wife likes the television series, “Bones.” In this show, the characters always say something like, “She died because…”

Repeat things: You’ve heard the adage if you say something often enough people will believe it? Well, it works with your writing, too. They secret here is to make the point in a variety of ways. Reword the information for it to have more effect.

Prognostication: If you allow your readers to foresee the future, when an event happens, they’ll have more confidence in its authenticity.

Overcome objections: You’ll build a character’s convincibility if they have the opportunity to respond to their naysayers and critics. This rejoinder may take the form of statistics, written articles or any number of other "facts" whether true or not. Regardless, if he can't answer his critics, his credibility falters at once.

Consistency: If your character wants others to believe as he says, he needs to stick to his guns. Remember that scene in "Friends" where Phoebe gets Ross to question the theory of evolution? In almost no time, Ross admitted there was a slight chance the theory, which he believed with every fiber of his being, might be incorrect. Didn't your impression of Ross drop at that moment? So, too, with your characters. A character who is contradictory in their actions and answers will lose credibility in a hurry.

Make Comparisons: Nothing opens one’s mind like a relationship to a known and accepted fact. Must your character prove his honor? Have him indicate other times he at least seemed to act in an honorable fashion and your reader will believe it’s true.

Become Part of a Group: All humans, and thus characters, want to be part of something larger. Have your characters join whatever faction might be necessary to enhance their ability to persuade other characters.

Social Proof: Have your characters turn to others for guidance. There is nothing more effective then to mimic others to have your way with them. After all, how can they disagree if they do the same?

Tell a Story: Paint the proverbial verbal picture and let other characters envision what you want them to see. If your character's story is false, have him gloss over the true facts and distort or ignore those aspects that detract from his point.

Develop Empathy: If you allow one character to prove they have also undergone the same situation, other characters will be more willing to listen to their advice.

Now we all know your readers will suspend belief to a point just because it's fiction, but to truly have them become engrossed in your fiction, convince them you know of which you speak.

By the way, did it cross your mind these techniques aren't just limited to writing fiction? It's true in life, too. Ask any politician.

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

The Secret to Character Development

by C. Patrick Schulze

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If you've kept up with this blog, you'll know not too long ago I received my manuscript back from my editor, Ms. Erin Niumata of The New York Book Editor. Since she had a number of suggestions, I decided the best way to incorporate her recommendations into the novel was to work on one major component at a time. First I worked on plot and now I've moved toward the CHARACTER DEVELOPMENT issues my manuscript faces.

A main issue Erin had with my character development encompassed the sometimes limited subtly with which I developed my character. After rereading her notes and my manuscript, (for the ten-thousandth time), I believe I've come to understand the skill that's required in this regard.

The secret to character development is not found within descriptions or even direct dialogue. It lies in your character's actions and reactions.

Here's what I mean.

In one scene of the manuscript, my hero takes some friends on a lark and they run across a classic THRESHOLD GUARDIAN. When the travelers see the building in which the gatekeeper is located, their spirits lag. Despite their initial reaction, my protagonist, Jak, revives the men's sagging mood.

Here's what Erin said about the scene.

"A nice piece of character development is Jak's rousing the cadets on the way to Bones' tavern; even when they are disappointed at the sight of the tavern, he rallies their spirits. This is the subtly needed throughout - this is how we see that Jak will be a leader."

Another scene has Jak leading troops into a Civil War era battle. Here is Erin's comment as to character development with this scene.

"Nice scene where Jak is leading his men to battle and he charges then doesn't have the courage to turn and see if they're following. Good characterization."

A third instance in which Erin pointed out effective character development comes to light in a scene where I introduced a subplot, the hero's efforts to keep record of his days at war. Erin made the following comment relative to this scene and another character's reaction to this subplot.

"The war diary is an interesting idea. It's good character development and adds depth to Jak's character. Clay's reaction adds character development to Clay as well."

One final indication of how to bring characterization to light. In this scene Jak leads men into battle for the first time. Here are Erin's thoughts.

"Good - that's perfect: he turned his head and was startled by how many of his men had fallen. This should be the beginning of his realization."

Herein you see effective character development. It boils down to the classic, "Show. Don't tell." Don't have characters, or even the author, indicate who your character is. Don't have your characters talk about it and don't spend your time narrating it. Allow the character's actions to indicate his strengths, weaknesses and personality.

By the way, as a side note, I hope you noticed a good editor not only offers recommendations as to how to enhance your manuscript. She also tells you how to fix it. Just a clue for what to look for in a good editor.

What questions to you have as to character development?

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

Want to Become a Better Writer?

by C. Patrick Schulze

Do you want to become a better writer? Go to the Movies.

I watched a mystery movie the other evening titled Perfect Stranger. It starred Halle Berry whom I consider the fourth most beautiful woman in the world, behind my wife and two daughters. Though the thought had struck me many times before, the movie reiterated how much a well-written and directed movie can teach us as writers.

As I watched, I studied the plot, characterization, setting, dialogue, conflict, pace and even how their "chapters" were structured.

If you look at the plot in Perfect Stranger, or any well done movie for that matter, it flowed naturally, nothing exists that wasn't needed and it builds tension from the start. In the case of Perfect Stranger, it even had a plot twist upon plot twist upon plot twist. (Even my charming wife, who can figure out any mystery by chapter six, never saw this ending coming.) However, the script writers did a wonderful job of making these twists believable and appropriate for the story. I did have a couple minor problems with the plot, but nothing that detracted from the overall storyline.

As to characterization, each possessed a personal motivation for the things he did and had a backstory the writers presented in a nonintrusive manner. They come across as authentic and likeable. Further, I even grew to identify with the heroine and her sidekick, Giovanni Ribisi, whom I think is the best male actor in the flicker-shows these days.

One thing I especially liked about the hero and her sidekick was their dark side. I'd recently written an article about this subject so I'm on the lookout for it.

I did find two characters for whom I didn't care, but again, they didn't detract from the story to any great degree.

Setting in this movie also played well. Each character lived in their own worlds that came across as genuine and believable. The movie writers did a nice job of transitioning from one setting to another. Again, I had a couple minor beefs, but nothing of any consequence.

The dialogue in the movie is focused, concise and effective. It held all the elements the dialogue in our novels should have. It provided us glimpses into the characters motivations, their backgrounds and enhanced the conflict. It moved the story forward, foreshadowed and the rest.

I examined the conflict and found no flaws. Now, there wasn't a great deal of action, but a lot of conflict. Every moment something built to the next thing and the characters emotional reactions were valid.

As to pace, things never quieted down, though you had plenty of breathing room. At all times the plot moved forward at a speed that enticed and encouraged interest.

The "chapters" of the movie even had a classic methodology of organization. That is, they started with a just a hint of setting then, bang! The shifted right into the action. They each had a beginning, middle and end, just as they're supposed to have.

My point with all this, is if you want to become a better writer, study the way movies are produced. Mimic their skills and you'll be well on your way to success.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

The Character Threshold Guardian or Gatekeeper

The Character Threshold Guardian or Gatekeeper

by C. Patrick Schulze

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Our friend Joseph Campbell of THE HERO'S JOURNEY fame, offered us a number of CHARACTER types to populate our novels. One of my favorite is the Gatekeeper or Threshold Guardian.

As with all character archetypes, this guy has a specific function to play in your novel. He's the character who most often guards the passage from the hero's Ordinary World and his new world of adventure. The Guardian's main mission is to test or teach your hero and to ensure the protagonist proves himself worthy of his goal. This means, he is there to show the hero his weaknesses, help him overcome them, and to make sure things aren't too easy for your hero.

This role need not serve only to show your hero's strength, however. It can also exemplify his kindness, sincerity, cunning, intelligence or any number of other qualities. He can even point the way toward the next step of your hero's quest. The secret is for the hero to learn the Guardians’ tricks, make them his own, and continue on his quest.

As mentioned, your hero most often encounters the guardian early in the story, usually right after he starts his quest. However, this character can come into play even after your protagonist has defeated The Evil One. In fact, Threshold Guardians can pop up almost anywhere in your novel, and offer new ways to maintain or increase the conflict.

In a very real fashion, the character archetype is a boon to the hero. It is this character who teaches your hero how to fight or find whatever skill or knowledge is necessary to move further toward his goal. This guardian offers the protagonist the opportunity to grow and evolve.

His personality need not be limited to that of an evil doer or villain's henchman, though those do work well. In fact, the Threshold Guardian need not even be a character at all. He can take any form you wish; animal, vegetable, mineral, concept or even a well-meaning teacher who guides his student to shop class rather than the sciences. Regardless his form, be sure this character tests and/or educates your hero.

Often the Threshold Guardian has a relationship to the villain if they strive to keep your hero from his goal. He may also serve as a bodyguard, if you will, to the antagonist or maybe as someone to warm the villain of the hero's approach. Regardless, if your Threshold Guardian has an evil tendency, he is always subordinate to the real antagonist.

How is your hero supposed to deal with the impediments posed by the Threshold Guardian? The answer lies in the guardian’s unique nature or personality. Your protagonist must find a way to get under the beast’s skin, so to speak. In some instances, they do so literally, as when Sam and Frodo dress like the Eye’s warriors to enter the badlands. Regardless, the Threshold Guardian must be faced. To overcome this character type, your hero may fight, bribe, educate, turn, appease, convince or even kill this guy. It all depends upon the character's personality.

Regardless the way you portray the Threshold Guardian or Gatekeeper, this character should be fleshed-out with at least a suggestion of motivation and personal goals just like any other character in your novel.

Now, do you have any questions about this character archetype?

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

C. Patrick Schulze

Author of the emerging novel, 
Born to be Brothers

The Three Dimensional Character in Novels

by C. Patrick Schulze

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Much is said about the mythical three dimensional character, yet there's a dearth of information about the concept. Sure, there's an overload of particulars on the subject, but it all seems a bit incomplete. Especially since I've received my manuscript back from the editor and she told me to add dimension to my hero.

So, I set out to find what it is that makes for a three dimensional character.

The wide breath of information on the subject follows this basic outline. One, your character must be believable. Two, your character must have flaws and, three, be relatable to your reader. Three dimensions, right? Though that's correct as far as it goes, I'd come to believe, something's missing from that formula.

Well, I think I've figured out what's missing. It's the levels, the depth, of their personality.

I've come to see it like this. The first dimension is that part of your character the world sees. It is their habits, their mannerisms, their dress, hairstyle and the like. It is those sensory clues he give the world.

The second dimension of your character is his backstory, his dark side, his past. What is it that compels your character to do the things he does? This backstory is what offers understanding of your character's persona, those parts of his life he hides from others.

Why does he hate woman, enjoy over-eating or fret over insignificant details? It's a character's backstory that gives him this part of his personality. It is this second dimension of "why" that draws empathy from your reader. And as we all know, empathy is what draws your reader into and empowers your novel.

The character's third dimension is comprised of his actions, behaviors and outlook on life. It's the reasons he makes the decisions he does. If truth be told, your character's moral fiber is defined by the actions he takes and his actions are defined by his outlook toward the world.

This outlook is the primary difference between your hero and villain. The hero suppresses his desire due to his outlook on life, what he considers right and wrong. In contrast, the villain fails to suppress those same urges as his concept of good and evil differs from the hero's.

It also seems to me these various levels of the three dimensional character need be unique and able to stand on their own. However, they should still coincide or mesh with each other. 

For an example as to how these three dimensions conjoin, imagine a character who exhibits an outward show of honesty. This is his first dimension, his noticeable appearance. He feels this way because his father used to take a belt to his backside when he lied as a child. This is his "why" or the second dimension to his personality. However, he lies to his wife when he has an affair. This is his third dimension, his actions.

The best authors are able to stir these three dimensions together to create a concoction that brews that elusive three dimensional character. In fact, the more I read, the more I'm convinced it is the art of characterization that lies at the heart of storytelling.

In my opinion, it you place more emphasis on your character's true three dimensions, your writing and your novel will rise to a new level.

Now, who among you have ever heard someone say your characters are not three dimensional and what did you do about it?

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

C. Patrick Schulze

Author of the BACK-from-the-editors novel, "Born to be Brothers"

How to Master Setting in Novels

How to Master Setting in Novels

by C. Patrick Schulze

Have you ever been to war? Have you felt the pulsing of battle within your body? If not, then read author DAVID L. ROBBINS. With his NOVELS, this guy jams his readers into the center of a battlefield in such a way you can almost feel the heat of the bullet as it screams past your head. How does he immerse his readers into the horrific environs of battle so well?

He's mastered the art of SETTING.

With that in mind, let’s introduce those components of setting which give your readers a full sense of the time and place in which you plunge them.

1. The geographical location of your novel

2. The time in which your novel takes place

3. The climate and/or weather in your novel

4. The lifestyle of your characters in your novel

5. The atmosphere or emotional quality of your novel

As to the geographical location of your novel, it helps if you write about a place you know, but it’s often more interesting if you create your own WORLD. Either way, the secret is to be as accurate as possible, for readers can spot a mistake in less time than it took to write it.

The type of story you craft will often dictate the time. The secret is to learn, or imagine as the case may be, as much about the era in which you write. I write novels that take place during the American Civil War. Therefore, I read about the time, walk the battlefields, visit towns of the era, visit museums where uniforms, dresses and quilts of the time are exhibited. Then, as I write, all these things assist when I attempt to create a true to life setting for my readers.

Climate is one of those aspects to setting many writers forget to use it to its maximum advantage in their novels. It offers so much in the way of establishing the mood of a scene. It also gives a writer any number of opportunities to incorporate sound and visual enhancements into their novel.

Lifestyle is an aspect to setting that generally comes out in the novel of its own volition. However, the best writers specifically use this as a tool in constructing setting.

Atmosphere is the mood or feeling of your book, the emotional quality of your novel. Imagine the mournful howl of a lone wolf at night or the cheery chirps of birds at dawn, and you'll understand how setting can alter the atmosphere of your novel.

Why is setting so important in your novel? The major reasons are as follows:

Setting Creates Consistency within Plots and Subplots. A consistent setting can keep it all joined together so the reader mentally stays within a comfortable framework.

Setting Enhances Conflict. Think about a scene with rumbling thunder and stabs of lightning in the inky sky. Does that create more tension than say an idyllic spring day in the park? Should you wish to use that tranquil day among the flowers, plop a flock of buzzards in the middle of the field and see how things change.

Setting Illustrates a Character’s Character. The manner in which your characters speak, dress, move and even curse will evoke in your reader a picture of your character. Imagine a dockhand who never utters a profane word. Would that image provide an insight into your character?

The real secret to setting is to introduce it not in chunks of information, or the classic info-dump. Rather, introduce it by way of your character's action, dialogue and such. As an example, it's probably best not to describe the landscape with narrative. Rather show how the character moves through tall grass, picks the flowers or smells the honeysuckle as it bursts forth and fills the air with its sweet nectar.

Before I close, I’d like to offer you one last tip as to setting. Employ your readers’ five senses. All authors seem to work in sight and sound by rote, but many aspiring writers miss the other three senses. Ensure your characters also smell, taste and feel their surroundings and your readers will do the same.

Are there any tips on setting you'd like to share?

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

C. Patrick Schulze

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

14 Tips for Effective Characterization

by C. Patrick Schulze

Listen to a PODCAST of this article.

The next James River Writers' Conference will be here before you know it and as a member of JRW, I wanted to pass along a few things I found interesting at our last conference. The discussion I most enjoyed centered on CHARACTERIZATION in NOVELS. A panel of three successful authors held this particular seminar.

One panelist indicated the best writing era for character research was the 1880’s to the 1920’s. He said when writing your book, read novels from that time period to learn how to improve upon your characterization.

Another idea they mentioned is show your readers how a character walks, stutters, or whatever. This makes the character more memorable. This made me think of Gene Wilder in Young Frankenstein, when Marty Feldman who played a hunchback, shuffled off. He told Wilder to, “Walk this way.” He meant for Dr. Frankenstein to follow him, of course. However, the good doctor shambled off like a hunchback, too. Obviously this is a useful tool as I’ve kept that image in my mind for how long, thirty years?

This leads into the next recommendation the panelists made. They said to bridge characters within chapters when you write your novel. By this they meant to carry a character's oddities from one chapter to the next. For example, if you have a character who shows irritation by flicking his fingers, (thanks, Richard), have him flick his fingers a number of times throughout your novel.

A time-tested avenue for writers is to pit contrasting characters against each other. Think Laurel and Hardy or Lucy and Ricky. (Am I the only one who remembers these people?) Or, for a more modern example, think the cast of Friends.

Put your characters in situations foreign to them. Think fish out of water. A good example is a goody-two-shoes in a gang fight. Your character's personality will shine in those odd situations.

Never, and they repeated the word, never put your characters in front of a mirror. Yes, there is an exception in Snow White, but then again, even James Bond learned “never” never means never. Right?

The bad guy can always rationalize his actions. He’s not insane, he’s evil.

Here’s a good one! Find contradiction in your novel’s characters. Imagine our goody-two-shoes who finally succumbs to the neighbor’s wife’s enchantments. You could also write about the vegetarian who is forced to eat meat to stay alive. This idea can present wonderful conflict opportunities, don't you think?

Characters must want something in every chapter. Do they all get their wishes fulfilled? Not if you’re looking for readers.

Put your characters in an argument as this, too, will bring out their personalities. This is the fundamental turning point in my current novel, so I'm glad to hear it works.

I thought this tip interesting and will incorporate it into my later manuscripts. Your character should be recognizable from the silhouette. They cautioned that this can get out of hand quickly if you're not careful.

For authenticity when you name characters, find popular names during the decades in which they live. Sites of this nature are all over the Internet.

Another tip I liked also surfaced. If a gun is seen in chapter one, it must be fired by chapter four. There's a name for this concept which I failed to write down.

And what was the most important of all these great writer’s tips? “Write what bubbles up.” That is, trust your Muse and pen what comes naturally to you.

What other tips might you wish to share to bring out the personalities of your characters?

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

C. Patrick Schulze

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

The Recipe for Writing a Successful Novel

by C. Patrick Schulze

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Before I wrote my first manuscript, I picked up a book titled, "You Can Write a Novel" by James Smith. After I read it, I came to the conclusion WRITING a successful NOVEL would be a piece of the proverbial cake. I admit it, that assumption turned into my first of many mistakes relative to novel writing. Regardless, the major concept I picked up from the book is there exists a recipe for writing a successful novel. I likened writing a successful novel to cooking one of my favorite meals when I was a single guy - crock-pot stew. Maybe I should've called this article my recipe for a crock-pot novel?

The recipe for a crock-pot novel, like that of anything that's pleasing to the palate, contains various elements that must be incorporated in the correct doses, and even at the correct times, for the dish to please your readers' visual palate.

The recipe for our crock-pot novel includes these basic ingredients:

Theme

CHARACTERIZATION

PLOT

CONFLICT

POINT OF VIEW

SETTING

DIALOGUE

Let's take a quick look at each of these recipe components, shall we?

Theme is the message or meaning within your crock-pot novel. It's what you wish your readers to learn. Your message comes to life in the way your main characters overcome the conflict they face. In effect, it is the fundamental ingredient of your crock-pot novel recipe. Think of it as the beef stock, if you will.

Characterization is the most important part of your novel as it relates to your reader. Your reader must, without exception, care about at least one character and what happens to them. You should, therefore, create fleshed out characters with whom your readers can identify. This is the beef in your stew.

Plot is what moves the story forward. It fleshes out your storyline and gives it depth. It is that series of events that your characters must face and the obstacles they must overcome. It is what moves your story toward the final chapter in logical order. I relate it to those chopped ingredients in our stew; carrots, potatoes, onions and the like.

Conflict is what encourages a reader to continue to read your novel. Many aspiring authors envision conflict as the action that takes place in their stories, the explosions, the chases and the like. If truth be told, conflict is found in your characters' emotional responses to the action that takes place. Your conflict will rise and fall like the peaks of a mountain range until you reach the crescendo of your story. It's what holds your stew gravy together, the thickener, if you will.

Point of View, or POV, is who tells your story. It's the perspective of your story's narrator. This is where many aspiring authors fail in their novel writing endeavors. Without effective POV, a reader may become confused and their enjoyment of your work decreases. This is your recipe's spices.

Setting is the time and place where your characters exist. It comes to life by way of your characters' senses. It's the time it takes for your ingredients to turn into a meal.

Dialogue is the words your characters use. It offers your reader background information, highlights their personalities and advances your story. Consider dialogue as the heat that transforms your ingredients into a tasty meal.

Now, do other recipes for novel writing exist? Of course. Every cook/author has their own recipe, yet each will incorporate these basic ingredients. Should an author omit any of these basic ingredients, his crock-pot novel will lack something and won't taste as pleasing to the reader as the author had hoped.

Best of luck with your recipe and let me know how it turns out, will you?

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

C. Patrick Schulze

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

Writing Your Hero's Death

Writing Your Hero's Death - by C. Patrick Schulze

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Would you like to hear what your readers really think of your novel? A surefire method to receive an inbox overrun with emails is to write the death of your NOVEL's HERO. Wouldn't you be upset if you spent hours reading a novel only to have the character with whom you most identified croak off? Maybe, maybe not. It all depends upon how you handle writing your hero's death.

If you feel your novel needs the wet work, here are some suggestions to kill off your hero so your readers won't abandon you.

Make certain his exit is necessary to your plot. You probably shouldn't kill him off just to shock your readers. Yes, it's often good to shock your readers, but I don't think this is the time to do it.

Also, make his death of consequence and finalize the event on a encouraging note. That is, ensure he dies for a worthy reason, one your readers will understand and accept. Think silver lining here. Sure, the hero dies, but his daughter lives on to become the first female president of the United States and ends all war. Now that would make for a worthy passing, wouldn't you say? If you arrange this to be a positive event, your readers will forgive you and probably even approve.

Create a situation where any and every major character has the potential to die. There's more power to a scene when a bus load of characters goes over the cliff than if the bus has only the driver, your hero, at the wheel.

Make the situation logical. Which of these scenes works better for you? Everyone runs around and screams on a sinking ship when an unexpected meteorite slams into it and kills everyone on board before they drown. Or, your hero is in battle and a wave of enemy fighters swam around him and kill him. This second situation is much more likely accepted by your readers.

If you're going to do it, as the Nike commercial says, "Just do it." Put your hero in a red shirt and have the meteorite smack him upside the head. Either kill him or don't.

Your hero's resurrection should not exist in fiction. You shouldn't put your readers through the trauma of your hero's demise only to have the character jump up later and yell, "Surprise!" This won't offer your readers any relief but may well irritate them.

It may ease the blow if you give your readers a foreshadowing of your hero's demise. The secret here is to give them the information, but insert it into your novel in such a way as they might misinterpret the clues. When the event finally occurs they should be shocked, but upon reflection, understand they should've seen it coming.

You may wish to consider the hero's death as a catalyst for a whole new and dramatic chain of events that are yet to transpire. What fun!

One last thought. If you cannot imagine the death of a specific character, then neither can your readers. That's the guy who should survive.

Killing your hero can be either courageous or disastrous. It all depends on how you handle it.

Is there anyone among my readers who has killed off a major character? If so, would you care to share the responses you received from your readers?

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"

Point of View Demystified

by C. Patrick Schulze

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I recently sought to hire an editor for my MANUSCRIPT and found many of them willing to offer a CHAPTER length sample edit. One came back with the notation I had a Point of View error on page one.

How in the world did I miss a POV error on the first page? *shakes head - roll eyes*

If nothing else, the experience taught me two things. Editors are a necessity, and POV errors are easy to miss. With that said, I thought I'd pen an article on POV and share it with you.

Let’s first try to understand what POV is. In a sound bite, it’s who's telling the story. POV is nothing more than the writer’s method for presenting narrative. See, it’s not all that mysterious, though mistakes are evidently difficult to catch.

The first aspect of Point of View to understand is each POV has its advantages, disadvantages and typical uses. My focus for this article will be the three most common uses of POV.

The three major types are:

First Person POV - the writer tells the story

Second Person POV - the writer gives advice

Third Person POV - the major character or characters tell the story

Third Person POV has three subdivisions and they are:

Limited

Omniscient

Objective

Let’s take a look at First Person POV.

First Person has the writer, or narrator, tell the story. In effect, the author speaks to his readers. This POV is told in either present or past POV.

It is most often used when one authors a book about ones’ personal experiences or opinions. You’ll see the writer using the pronouns I, me, my, mine, we, our and ours. It does fit into fiction, but is widely used in memoirs.

Second Person POV

Think of this as an instruction manual with extensive use of the pronoun, “you.” This POV is rarely used in fiction as it simply tells the reader what the characters are doing and what they see. A weakness is it provides only limited access to creativity though a strength is it grabs the reader’s attention. It can also exist in past and present forms.

Third Person POV, where a character or characters tell the story, has three subtypes and we’ll discover each of these in time. It's the primary POV utilized in fiction.

Third Person - Omniscient POV

Third Person Omniscient POV has all the major characters in your novel tell the story. What is nice about this POV is the freedom it affords. The author can tell the reader everyone’s motivations and their thoughts. It allows the writer to give or withhold information at will.

The difficulties of this POV lie in lack of control and its potentially cumbersome nature. If you aren't careful and you show too much of what’s inside every character’s head, the reader receives an overabundance of information and can become frustrated if your POV loses cohesion.

To overcome this drawback, ensure consistency in your POV and have only one person at a time tell the story. It's also important to eliminate any information that is not pertinent to the story. Have each chapter focus on one individual to eliminate “head-hopping,” which is jumping from one character’s POV to another within chapters.

Third Person - Limited POV

Third Person Limited POV is perhaps the easiest to utilize and most popular when writing novels. Here the author writes from a single person’s vision throughout the entire book. In third person POV, you’ll see pronouns such as she, he, her, him, hers, his, it, its, they, them, theirs.

The disadvantages come with the writer’s limitation as to who sees what. The character who tells the story cannot get into the head of another to read his thoughts. He can only surmise what the other guy thinks by their facial expressions, actions and such. It’s also very easy to shift out of this POV.

Third Person Objective POV

In this POV, the author only tells his readers what happens by way of action or dialogue. Their characters’ feelings or thoughts are never revealed. It's not the most effective POV for fiction.

The secret to POV is to learn what type works well for your writing style and genre.

Now, who wishes to share a POV issue they've faced?

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

C. Patrick Schulze

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

Writing a Fight Scene

by C. Patrick Schulze

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I don't know why, but WRITING a fight scene seems my specialty. However, as with so much in my life, the knowledge came after the attempt. When I decided to study HOW TO WRITE a fight scene, I came across a number of primary steps for writing a fight scene I wish I'd known beforehand. I'd like to share some of them with you now.

If I could only give you four general tips on writing a fight scene, I'd say, keep the pace forefront in your mind, keep your descriptions limited, have a full understanding of your characters' personalities before you begin writing the fight scene and use the characters' senses.

Now, let's flesh out this scene with a bit more detail, shall we?

The most important aspect to this scene is the characters' emotional reactions to the event. What if this is the first time a woman slaps her husband? How might it affect her, or him and even their relationship? If you bring out the characters' emotional reactions, you'll have a much stronger fight scene.

Another important tool to use when writing a fight scene is to employ your character's senses. Have your hero taste the blood, hear the bullet scream past and smell the sulfur in the air.

You should have the fight scene offer insights into the combatants' personalities. For example, your hero might rise out of his emotional cocoon to protect the girl.

As with all scenes in your novel, a fight scene needs a purpose within the story and must move the story forward. You should also ensure your readers know which characters have something to lose in the scene.

Dialogue is tricky in fight scenes. You may wish to use fewer words and employ more grunts and curses.

Setting should also take a forefront position when writing a fight scene. Is the floor slippery? Does the wall scrape his skin? Is the building on fire?

Pace is another fateful choice for your fight scene. It might be as limited in scope as a woman who slaps a man, or a battle where thousands might gore each other with swords and axes. Regardless the type of scene you envision, the fight moves fast from the perspective of the fighters. It may take a thousand words to write, but to the combatants, it takes mere moments of time. Your goal here is to keep your reader on-edge during the entire scene.

Now for some general tips about writing a fight scene.

Sure, go ahead and act it out in front of a mirror. Choreograph the thing. See what happens when your combatants move in certain ways.

Know your character's perspective is highly focused on the events at hand. They see only their immediate danger and think only of survival. An interesting insight into a combatant's world is that his focus ranges only a few feet in any direction.

The fight scene must fit your characters' personalities. The milquetoast won't rise up to lead the army to victory nor will the troll sit down and cry when someone takes his weapon.

This is a good time to have your hero face his weaknesses.

Balance your violence and gore. The amount of each depends upon your audience, though every audience can appreciate a novel with little to no gore.

Use technical terminology with care. It can confuse your reader or make him slow down to understand what you meant. For example, if your reader does not know the difference between spherical case, shot and canister, just say cannonball.

Imagine the weapons these people will use and experience them for yourself. If they're shooting at each other and you've never been to a range, you're writing may have a hollowness about it.

Introduce the unexpected. The combatants will trip, slip, fall, hurt, bleed and all those other things the fighter never envisioned beforehand.

Fight scenes need to make sense to your reader. A pocketknife probably won't take off the villain's arm.

Make your opponents competent. It's not a fight if a trained soldier takes on a newborn.

Try not to offer too much detail. Allow the reader to visualize as much as you can, so his mind will seek those places most fearful to him.

Remember, for every action, there is a reaction. If he gets punched in the eye, he'll respond in some way.

Spectators are great for telling "what just happened."

One last thought. When the fight is over, show your reader your winner's physical condition. This makes it seem more real to your reader.

Fight scenes can have a powerful and positive effect upon your reader, but not if he doesn't buy it. So, guys, keep it real.

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

Plot-Driven or Character-Driven Novel?

by C. Patrick Schulze

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First of all, we should understand the difference between the a character-driven novel and a plot-driven novel. A character-driven novel is based upon strong characters with a story built around them. In this case, the characters drive the PLOT. A plot-driven NOVEL is based upon a story with CHARACTERS created to fit the storyline. In effect, the plot drives the characters.

Novels that fit into a genre are most often plot-driven. In genre fiction, the major focus is to accomplish some task such as destroy the bad guy and save everybody else. It's of lesser importance who does this. As a rule of thumb, the hero chooses between a rock and a hard place and his decisions move the story forward. As the story develops, so does the hero.

In character-driven novels, the author creates a hero who's thoughts, emotions and other characteristics drive the story. In contrast to the plot-driven novel, as the character develops, so does the plot. Here, the hero doesn't so much choose between the rock and the hard place as create the rock and the hard place by his personality.

One advantage a character-drive novel has is characters carry endless possibilities within them. Plot does not. In fact, Jim Thompson says, “There is only one plot—things are not as they seem.”

A problem with character-driven novels is they often has weak plots. In contrast, a disadvantage to the plot-driven novel is they often lead to bland characters.

So, which type of novel should you write? A great part of that answer is based upon your personality. If you'll pardon my broad brush, I'll say people who write character-driven novels are often the type who focus on feelings, imagination and creativity, right-brainers, if you will. They steer clear of outlines and have a tendency to write from the cuff. In contrast, I believe plot-driven novelists lean toward the more logical, rational thinkers among us and are left-brainers. They'll outline, draw plot points and all the rest. I think it's similar to the difference between logical thinkers and emotional thinkers. Both types work well, they just use different tools.

So, which type of novel is better? Come on now… you've got an opinion. I know you do. The answer, in my opinion, is neither. I think the best novels have both strong characters and strong plots. I believe your success will improve if you have the ability to weave strong characters and a powerful plot together.

Should you write a plot driven novel with thin characters or a character-driven novel with a thin plot? Neither. If you have a strong plot and weak characters, you have a plot-driven novel with poor characterization. The reverse, of course, is also true. Plot and characterization are not mutually exclusive, any more than are dialogue and character emotions. All aspects of your novel must be woven together for best results.

So, what type of writer are you and how does your writing method hamper your writing?

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

The Secret to Plot in Your Novel

by C. Patrick Schulze

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What makes for good fiction? Is it character, PLOT, story, setting, voice, dialogue or some other component of your novel? The answer is PLOT; the story of what happens. Think of it this way. You can find millions of different characters, tens of thousands of settings and about a dozen stories. But as Jim Thompson says, “There is only one plot—things are not as they seem.” What makes your novel stand out is its plot, that series of causes and effects found within your story.

To create a meaningful plot, you need at least one main character who suffers some level of conflict, that inability to achieve what it is he wants. This conflict, his emotional reactions to the obstacles placed before him, is the crux of your plot. It is this inexorable series of obstacles your hero faces, and how he overcomes them, that hooks your readers.

The secret to plot, is that it flows from your characters. The basis of this is your hero's desire for something beyond all else, that is kept from him. This ever-rising tension and conflict or your character's hardships, are what make up your plot.

When you write a story, you create a sequence of events that moves the hero toward what it is he wants. However, your greatest effort should be in your introduction of conflict, those ever larger obstacles and the increasing resistance your hero experiences. You first give him a goal to surpass, then once he completes this task, deny him his desire. Then you have him master a more difficult challenge, then deny him yet again. Do this over, and over, and over again. Of course, the hero will at some point reach his goal, but you must keep it from him as long as the story, and your word count, allow. This constant battle between upheaval and triumph is what develops your plot and engrosses your readers.

Your character's conflict, and thus the plot, may derive from either internal or external sources. Regardless, they thwart his progress until the very end of your novel. We all know external conflict can be exciting, but what can place your novel above others is your hero's internal struggles. Consider this basic storyline. Your hero has a burning desire to become a surgeon, but faints at the sight of blood. Which is the most moving aspect to the character's goals? Is it the struggle to become a doctor or the sight of blood issue? His struggles to master his fear will have the most power with your readers.

In addition to plot, you have a wonderful tool you may employ called "SUBPLOT." That is, each major character is haunted by some minor conflict that further hinders him. This, too, can be internal or external in nature but if used effectively, can give a great deal of life to your novel.

Now for some quotes about plot from those famous among us.

"'The King died and the Queen died' is a story. 'The King died and the Queen died of grief' is a plot." E.M. Forster

“Plots are what the writer sees with.” Eudora Welty

“Plot is structuring the events of the story.” Aristotle

“Character, of course, is the heart of fiction. Plot is there to give the characters something to do.” John Dufresne

“When a character does something, he becomes that character; and it’s the character’s act of doing that becomes your plot.” Henry James

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

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

How to Increase the Pace of Your Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

Did you know CONFLICT is not the only tool you have to increase the pace of your writing? Of course, the more forceful the conflict, the faster the pace. However, there is another important concept available to help ramp up the pace of your writing. The second most important technique used to increase the pace of your writing is the rise and fall of tension.

Tension is different from conflict in so far as conflict is your character’s emotional reaction to the challenges he faces. In contrast, tension is the emotional strain placed upon your readers. It’s a bit of hostility you interject into their lives.

So, how does a writer place emotional pressure on a reader? Alfred Hitchcock presented this concept at it best when he said, “There is no terror in the bang, only in the anticipation of it.”

In my own mind, I see this concept in a scene where two characters sit at a table. Unbeknownst to them, there is a ticking bomb strapped beneath it. The reader knows the bomb is there and when it’ll blow, but the characters do not.

Can you see how a ticking time bomb, real or metaphorical, can propel your tension?

Okay, now for some tips on how to increase the pace of your writing.

1. Use sentences and scenes and chapters that leave them hanging.

2. Tension, like conflict, should ebb and flow through your novel. Think of a line chart that grows ever upward in consecutive peaks and valleys. Your tension should follow this same path. It should always build, then fall, then rise to the next higher level. After you slow the tension, make something happen, and soon, to regain your momentum.

3. DIALOGUE is a great tool to increase the tension of your writing. Not only are you able to use your characters words but also how they say what they say.

4. Quick lines make for quick reading. Quick reading makes for a fast tempo and greater tension.

5. In those nail-biting situations you create, sentence fragments will increase the excitement. Always. Every time. As here. I urge caution, however, for overuse of fragments can get out of control.

6. Consider the amount of white space on the page. Imagine a sheet of paper filled with text, one line after the other without breaks, from top to bottom and side to side. You can visualize how this would overpower the reader. Think instead of a page loaded with choppy sentences. This creates a great deal of white space to the right and makes the page read faster. Your reader will feel the increased rhythm if for no reason other than the speed by which they flip the pages.

7. Shorter, simpler words increase the tempo and the tension of your story. Anything that slows your reader will slow the pace, and the tension, of your scene.

Number 8 is one of my favorite sayings. “Be cautious of argot your middling might not twig.” That is to say, don’t use terminology your average reader might not understand. When you force them to take their mind off the story and focus on individual words, their reading slows in dramatic fashion. So does the pace. That goes double for medical thrillers and the like where difficult words are normal.

9. Strong, specific verbs and nouns can also increase the tension. Consider someone who dreams in nightmares in contrast to someone who is haunted by nightmares. How about someone who “falls” as compared to someone who “collapses.” These examples show how a single word can increase the tension of your novel. Therefore, seek precision with your words.

10. Use active voice. “He was going to fight it out,” reads slower and with less strength than, “He determined to fight it out.” Read this ARTICLE to learn more about active voice.

Now, might you have any tips to share?

As always, know I wish for you only best-sellers.

C. Patrick Schulze

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

How to Write Scenes in a Novel

by C. Patrick Schulze

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Great! You’ve developed these wonderful characters who stand primed to flit about your magnificent setting and, boy-oh-boy, do you ever have an idea for a storyline. Well, it’s all for naught if you can’t compile these things into scenes and string those scenes together to make your story awe your readers.

Imagine, if you will, a lustrous string of pearls. The first gemstone compliments the next, which balances with the rest. Strung together they lay upon a woman’s neckline to bring forth her natural beauty and give her a radiating sense of elegance. Now imagine that necklace where the jewels are a hodgepodge of odd sizes, hues, luster and even quality. All of a sudden we’ve taken the best of nature and the best of man to make them into something less than pleasing. The same thing happens with your story if you don’t pay as much attention to your scenes as you did with your characters and setting.

Let’s get started.

To begin, you may wish to know some people recommend you consider what the characters want to happen, what they need. Personally, I disagree. I believe if you first determine where you want to go and what steps you must take to get there, your characters will follow.

It’s important to know an effective scene requires emotion, action, dialogue, characters, conflict and setting. Of course, it’s primary component is the conflict your characters face.

Next, determine what has to happen in a scene to move this part of the story forward. Don’t worry about what could happen or what should happen. Be concerned only about what MUST happen. Now that you know what must happen, figure out who must be in the scene to make it work. Put only those characters into it and leave out everybody else.

At this time, use only two or three sentences to write your scene. That’s all you need at first.

Next you determine where this scene takes place. It may be obvious after you asked yourself what must happen, but if it isn’t, fix the setting into your mind. Consider that events happen in places one might think out of place. Think of a teacher and high-school student as they discuss the child’s grades. You’d assume this would happen in the classroom, most likely after class, right? Why not have this discussion take place at a racetrack or better yet a bar. Now that would perk the scene up, don’t you think?

Now consider how it all ties together. A classic secret is to begin as late in the scene as possible. Regardless, this next beginning almost calls out for recognition as it naturally piggybacks off the ending of the previous scene. However, give this a bit of thought, too, and see if you can’t punch up your creativity just a bit. For example, your student and his teacher are talking at the races when one scene ends. The next scene might typically start the following day in class. What if this second scene started as they watch the school burn down? The oddity of your settings may just give your novel a unique and imaginative spark. After all, why should all the surprises come at the end of a story?

The next thing you might want to do is visualize your scene as if it were in a movie. If you can see there, it’s probably got some strength to it.

After all this, now’s the time to pen what many call a scribble draft. It doesn’t have dialogue, setting or anything beyond simple physical actions. Make is a bare-bones outline. It’ll sound something like this:

     Jack runs down the hill

     Jill runs after him.

     Jack falls down the hill, and drops his bucket.

     Jill does too and screams as she tumbles.

     Both land in a heap at the bottom of hill.

After all that, now guess what you get to do? Yep, first draft. It time to put fingers to keyboards and clack away.

You may find it useful to write your scene first with only the characters’ physical actions and nothing more. When you close your eyes and “watch” your scene take place, look for those areas that stutter or slow the pace. Those are the parts that need work. After you’ve “seen” it play out, go through this process again, this time with the dialogue. Does it “hear” as well, too? If not, you know what needs work. Do this a third time with your setting in mind and you’re good to go.

The real secret to a good scene is visualization.

After you string a few scenes together, reread them and ask what’s the worst that could happen if this scene or that were omitted in whole. If the basic storyline is unaffected by the missing scene, it’s unnecessary and should probably be cut from your manuscript. 

Yep, it’s a lot of work, but you’ll get that beast wrestled to the ground and your story will emerge. Good luck.

Here’s a couple tips many find useful. Write your last scene first and the first scene second, at least in outline form. If you know where you need to go, the steps to get there will become much more obvious.

If you remember, I recommended you first write out your scenes in just two and three sentences. If you do, put all these mini-scenes on the same piece of paper, a file of its own. Make a copy of that document before you expand them into full scenes. This is the start of your synopsis. (You’ll thank me one day for this tip!)

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

C. Patrick Schulze

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