How to Outline a Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

In the past, I've always sat down with a vague idea of how I wanted my novel to end and then simply wrote toward that end. As I've grown in ability and knowledge, I've started to first outline my novel then fill in the blanks. I've come to think of writing a novel as a road trip and an outline as the map. (You do remember those two-dimensional GPS's, don't you?)

So, how do you go about outlining a novel?

The first secret to know is a novel's outline requires some thought, yet little work.

You need only outline two major components of your novel to develop a workable outline. They are your main characters and the plot. Things like dialogue, POV, setting and all the rest can be ignored for the time being. At the outline level, you don't even need to know what your characters look like. You need only their personalities.

What an outline needs most of all, however, is the time and effort to noodle though what happens to your characters. What's the story? In this light, many find, as do I, the end of your novel is the first thing to determine.

As to your plot, develop four or five major things that will happen to your protagonist and write them out in simple language. Think along these lines:

1. Boy meets the Girl of his dreams.

2. Girl dumps Boy.

3. Boy and Girl decide to get back together.

4. Boy finds out Girl's not worth the work.

5. Boy comes to realize he can find true happiness with a dog.

After you've got your basic plot developed, figure out what has to happen to take your hero from plot point one, Boy meets Girl, to plot point two, and so on. Write these new occurrences into your outline. It'll look something like this.

1. Boy meets the Girl of his dream.

2. They form a loving relationship.

3. Boy becomes jealous of Girl's platonic male friends.

4. Girl dumps Boy.

5. Out of loneliness, Boy has sex with girl from the copy shop.

6. Boy and Girl decide to get back together.

7. Girl finds out about girl at copy shop and dumps Boy again.

8. Boy decides he can find true happiness with a dog.

That's really all there is to outlining your story. Though your outline will most likely be more complete than this example, it may also be just this simplistic. All it needs is enough structure to keep your first draft focused on the story.

As to your characters and the novel outline, your goal is to flesh them out on an emotional level, nothing more.

If you noticed in the expanded outline above, I inserted the character emotions, jealously and loneliness. That's a key to getting your novel outlined, for it established motivations, personalities, and so much more.

This means by the time you're finished with the outline of your plot, you should already know the type of characters you need. In fact, they'll probably jump out at you. From two words, loneliness and jealousy, we already have an "outline" of our hero's flaw, don't we? His flaw stems from personal insecurities.

Now for some general tips as to how to outline a novel.

Remain flexible. Your outline is not cast in stone. As you move along in your story, if things take a dramatic shift, so be it. You wrote your outline, you can rewrite with as much ease.

You can make your outline exquisite or simplistic. Get as detailed with it as you wish. Let your personality be your guide. In my case, it's basic and I allow the characters and my imagination to fill in the blanks as I write along.

Though I only outline characters and plot, you may wish to also outline your setting and any or every other aspect of your novel. One writer I know gets so detailed with her outline, each scene is structured before she begins her first draft. Whatever works for you, works for you.

If you'd like to see someone else's idea of a plot outline, check out this ARTICLE.

Do you outline or not? Why or why not?

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 Character Threshold Guardian or Gatekeeper

The Character Threshold Guardian or Gatekeeper

by C. Patrick Schulze

Listen to a PODCAST of this article.

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

Secrets to Fix Your Novel's Plot

Secrets to Fix Your Novel's Plot

by C. Patrick Schulze

Listen to a PODCAST of this article.

Of all the necessary components to a well-received NOVEL, plot is among the top three. Should your PLOT sag at any point, you'll find the entire novel lacks the intensity needed to make it onto the best-seller lists.

There are three major areas that tend to drag down your plot. They are:

1. The Beginning is Too Slow.

2. The Middle drags.

3. The Ending is Predictable.

Let's look at solutions to each of these common problems.

The Beginning is Slow.

If your plot, those events that happen to your major characters, stutters from the outset of your novel, it's probably because you've set too low a standard for your characters. There's nothing to hook your readers.

To fix this, think of how you can make things worse for the major character. What will cause him the most angst? Try a bit of mind-mapping or, as they called it in my day, brainstorming. Just allow those nefarious ideas to ramble around into your mind and see if anything jumps to the fore. The more ideas you conjure, the better the odds the best idea will appear.

Keep this first section simple. Incorporate lots of conflict but not too many people. One character is good, two are ample.

Make this situation self-explanatory. If you spend a lot of your word count to bring people up to speed as to what's happening, it'll make your opening drag. That is, consider a great deal of action and dialogue. Descriptions aren't necessary and don't add much here.

Another method by which to pump up the start of your novel is to begin with or create a new motivation for your hero. What causes him to do the things he does? That might get your reader's blow to flow.

The Middle Drags.

Should your novel suffer the dreaded sagging middle, the general secret is to interject additional conflict, more confrontation. Just be sure you add conflict and not just action. (Conflict is your character's emotional response to action.)

You might also add a plot twist. Take the story in a new and unexpected direction.

You can also introduce a major, yet unexpected, character. Just make sure he's logical and necessary to the story.

Another technique to prop up your sagging middle is to introduce additional motivation. For example, if at the start of your novel your hero hates woman, in your sagging middle your reader may find he actually hates women with tattoos. They also need to find out why he hates this "brand" of woman.

The Ending is Predictable.

The third typical problem is when everyone sees the trees long before they come upon the forest.

You can fix this issue in a number of ways. First, like the method with which we fixed the sagging middle, add a new twist. Brainstorm a number of potential endings then pick the one that feels best to you. Be sure to insert this twist far enough back in your novel so it works into your plot with ease. If you just plug it in at the end, it'll look contrived.

You might also survey your ending to see if you've spent too much time explaining loose ends and the like. This often leads to too much narrative and not enough excitement.

You may wish to ensure there are no coincidences at this part of your novel. Your ending must follow that trail of crumbs you left in the preceding parts of your novel.

With a little planning, most plot errors can be corrected. Spend some time with an outline and see what happens.

Did any of you have plot issues with your novel? How did you fix them?

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

C. Patrick Schulze

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

When Writing a Novel, Details Do It.

When Writing a Novel, Details Do It.

by C. Patrick Schulze

Listen to a PODCAST of this article.

My father-in-law attained the rank of Major General in the Air Force. This guy had not attended college, let alone graduated from The Air Force Academy. Both of which are required for one star, let alone his two. Yet, despite his lack of education, this guy somehow rose to the third highest rank in the military. Not an inconsequential accomplishment.

One day I asked him the secret of his success and he offered two lessons I've not forgotten to this day. His first rule? "No harm no foul." In effect, take care of your people. His second rule? "Details do it." He said with everything he passed to his superiors, he ensured the correctness of even the tiniest of details. Of course, each boss promoted him as they knew his work was of the highest caliber.

So it is when we write. Details do, indeed, do it.

Imagine a scene where a character does something as simple as exit a car. Does the guy step out of the vehicle? Does he jump out, slide out or even fall out of the vehicle? It makes a difference, don't you think? If one gets out, he may have decided to pick up some milk on the way home from work. If they jump out, a level of tension is indicated, is it not? And if he falls out, all sorts of doors are opened here. Did he slip? Is he drunk or even dead?

The secret is in the specific words you choose for your nouns, verbs and adverbs.

I pay attention to the specificity of my nouns and verbs when I edit. During my first draft, I just write what comes to mind. Later, I review my nouns, verbs and adverbs to ensure they are particular to my scene.

Here's a example from my emerging novel, "Born to be Brothers." In this scene, I wanted to show man and beast at odds with each other. Here's the sentence as it read in my rough draft.

"The man walked behind a mule and snapped the reins to encourage his animal."

After editing, it read as follows:

"The man plodded behind an old mule and snapped the reins again and again to encourage the sluggish beast."

You can see in this sentence how the added details enhanced the image. First, "walked" became "plodded." Plod insinuates the man is tired and worn whereas "walk" does not necessarily do so. I also added the words, "again and again" to indicate the mule did not accommodate his driver. Finally, I changed, "animal" to "sluggish beast." Again, a much more effective picture, don't you think?

Yes, my friends, the details within your writing do indeed do it. If you pay close attention to your details, you'll find a much more effective story will emerge for you.

Now, does anyone care to share how they changed a simple detail and it made a marked difference to their novel?

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"

Don't Write a Novel, Write a Story

by C. Patrick Schulze

Listen to a PODCAST of this article.

A reader of this blog asked if I might help get her NOVEL started. She said she had the idea and the research completed, but was uncertain as to how to get on track. This article is for her.

When I first began to WRITE, I joined a writer's group and sat in on a few meetings. I hoped the group could tell me how to write a novel, but found I had my proverbial horse way ahead of my cart. I didn't need to learn how to write a novel. I needed to learn how to tell a story. That little piece of information changed my life.

The next thing I learned was the difference between a story and a novel. A story is the plot, that succession of incidents within the novel. It's what happens in your novel. The novel is the narrative by which the story is presented.

That means you first write a story, then convert it into your novel.

All you need to get your story started is a plan. And with novels, the classic plan is called The Hero's Journey. It's been around since the days of Mythology and is still used by the best writers today. The Hero's Journey is nothing more than a structured string of the events your hero needs to endure.

The Hero's Journey has twelve situations your hero must face. This generates a plot and forces a story to pop out as if by osmosis. The novel is much more difficult, but the story, well, that's easy.

Here are the twelve steps to the Hero's Journey.

1. Ordinary World: You show your hero's life at the start of your story.

2. Call to Adventure: Something, whether the hero realizes it or not, calls him toward some grand quest.

3. Refusal of the Call: The hero first says he can't undertake this quest.

4. Meeting the Mentor: Your hero meets someone important to help him on his quest.

5. Crossing the Threshold: This represents that event that ensures your hero can not go back to his Ordinary World until he finishes his quest.

6. Tests, Allies and Enemies: These are people or events that help or hinder the hero.

7. Approach to the Innermost Cave: He closes in on the big bad villain.

8. Ordeal: He fights the bad guy.

9. Seizing the Sword: Your hero takes what it is he needed to complete his quest. It's what he's gained by his Ordeal.

10. The Road Back: The trials he may face to get back to his Ordinary World.

11. Resurrection: This is the time when your hero proves he's gained the right to use the "sword" he's won.

12. Return with the Elixir: This is where your hero reaches his Ordinary World once again and shares his "sword" with others.

If you think about these twelve steps, it makes perfect sense a story will be the natural outcome. You've got good guys, bad guys, conflict, excitement, rewards and all the rest.

Better yet, it works regardless your genre. For example, think about a story of an abused wife. Her ordeal may be the beatings she underwent and her "sword" may be her freedom. In the same light, in a war story the ordeal may be a battle and the "sword" the death of the enemy general. There is no genre for which The Hero's Journey does not work.

Now, a short article cannot teach you everything you need to know about how to write a story. However, further information is all over the Web and in countless books at any library or bookstore. Take some time to study The Hero's Journey and if you take it to heart, your story will emerge.

Is this all there is to The Hero's Journey? Of course not. Entire literature courses cover each of these twelve aspects. However, it worked for authors then and it works for authors now. It will get you started. It's step one.

Are they other ways to write a story? Of course, but until you've got some work under your belt, use it. As they say on television, "It works!"

Now, some say The Hero's Journey is outdated or incomplete. Maybe, maybe not, but here's a clue. That little black dress and a string of pearls still work, don't they? They work because they're classic. That is, they brought out a woman's beauty then and they do so to this day. Here's another way to look at this idea. If they can write "Star Wars," "The Lion King," "Pulp Fiction" and even "The Full Monty" by way of The Hero's Journey, you and I can use it for our story, too.

Now, are there any specific articles I can write to assist you on your path to publication? If so, let me know.

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

C. Patrick Schulze

Author of the emerging 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"

Writing Your Hero's Death

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

Listen to a PODCAST of this article.

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"

Writing New Worlds to Life

Writing New Worlds to Life

by C. Patrick Schulze

I write NOVELS set in times we've all read about and pull my PLOTS from real life stories. It doesn't take a great deal of imagination to find stories in this manner. However, those who write sci-fi or fantasy have always impressed me. It seems to me those writers must bring a great deal of creativity to their work when they write new worlds to life.

Not only must they write that all-elusive and saleable novel, they have to create entire and believable worlds out of thin air. Now, I can write a good story, but I've never tried to build an entire ecosystem as sci-fi and fantasy writers must. So, I did a bit of research on how to create such a world. The more I got into it, the more fun these genres offered.

You should have a believable place in which to plant your readers, and it seems there are eight primary aspects to worldbuilding. They are:

The supernatural, or God and spirits

The new world's laws of nature, the Physics

The weather and climate

The lay of the land or Geography

The skies or Astronomy

The beasts that roam your world or Zoology

The flora and fauna

The speaking creatures that populate your world or Anthropology

Let's take a quick look at each of these components of your new world to see what must be considered.

The supernatural component of your novel will have great influence over the morality of your world's inhabitants and thus power over what occurs there. Is there a God or does the world tend toward oracles or even magic? Are these superior beings vengeful or caring? How do they affect the lives of your inhabitants?

Everything in your world is impacted by the physics of the place. The tides may force people into underwater dwellings for half the day or the push of gravity might makes things fly. This then affects living habits, clothing, food production, the gods and all the rest.

The weather impacts your characters in ways we other than sci-fi and fantasy writers never imagined. It affects the type of buildings that exist, the crops that grow, your characters' clothing and so much more. Further, weather can even affect the outcome of your story. Ever heard of the Armada?

Geography can also be interesting. Imagine for example, your world is saturated with fluids. Might your creatures then walk on water? (Wait… Maybe your creatures walk on water so you need a water world of sorts. I'm confused…) In any case, you may have to reevaluate your weather as you build your landscape as the two, at least in our world, impact upon each other.

If your world is influenced by the astronomy, you may wish to create a star map. Here you imagine planetary rotations and orbits, star colors, constellations and such. Further, imagine the effect of your sky on the world's inhabitants and horticulture.

Now for the beasts that roam over your geography or swim under your seas. Here you have to consider the food chain, if it exists. If it does, that means higher level and subordinate animals with all those interactions and reactions. Are there classes or genesis of animals? Are they aquatic and/or terrestrial in nature? Do they communicate and how? Are they domesticated or not? I'd think this area of creation could be fun.

The plant life on your new world comes next. Do your creatures feast on the plants? How are they affected by geography, weather and everything else? Are your plants intelligent and do they carry the weight of a character in your novels? Can they be the characters?

Now for the Anthropology, those creatures that speak in your novel. Do they have emotions? Is their language formal, informal or written? Do you need to create a new language? (If there's ever a reason not to write sci-fi…) Are there genders and what are they? Do families exist? If so, in what form and what function to they serve? Are there classes of people and how might the "higher" classes affect the lower and vice-versa? This aspect to worldbuilding must be the most important to your novel for these creatures offer your dialogue.

I found it interesting to think about how these aspects of your new world might play against each other. On Earth, our climate affects the zoology, the physics of our world effects the geography, the Anthropology affects the supernatural and so on. How might these factors relate to each other on your world?

No telling what I've missed, but I do have to say, outside of a new language, creating new worlds could be the most fun part of writing - ever!

Has anyone developed a fictional world? What secrets to you have to share?

Best of luck in your new world and don't forget, I wish 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

Listen to a PODCAST of this article.

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

Listen to a PODCAST of this article.

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 Write Imagery

by C. Patrick Schulze.

Listen to a PODCAST of this article.

Welcome back, everyone. It’s nice to have you here again.

We, as fiction writers, have an obligation to take our readers to unknown and interesting places within worlds they would or could never imagine. And imagery is that tool we use to take them there. How to write imagery? It’s not as difficult as you might think, and today I’ll offer some tips and techniques on how to write imagery that I hope you’ll find useful.

Imagery is defined by Dictionary.com in part as, “the formation of mental images.” Imagery is all about painting the proverbial mental picture.

Imagery can be one of the most important aspects of your novel. Let’s look a simple example, shall we? What type of picture do you see when I mention rain? Now think about rain that races sideways, propelled by a howling wind. Both pictures typify rain, but the second is much more powerful, don’t you think? These powerful pictures are what you seek with your imagery, for they will engross your readers in your story.

A common error among aspiring writers is they describe their setting as they might a photograph. The average writer just writes the various things he sees. This method tends to offer a dry, formulaic image, bog down the story and dampen a reader’s enthusiasm.

Instead, an author may attempt to write in a way that incorporates his images into his character’s actions. This next example, typifies how a writer might do this.

"He strode into the stone building and noted the poor quality of the landscape. Once inside, he wondered as to the purpose for the narrow windows which allowed little light to enter the rooms."

Now, here are some general tips on how to write imagery into your novel.

1. Paint your verbal pictures in nibbles more than great gulps of information.

2. A rule of thumb says to put no more than three sentences together when describing your scene.

3. Use your characters’ senses. Here’s your example.

He tiptoed farther in and noticed an odor waft up from beneath the floorboards.

4. Pepper your dialogue with imagery. That is to say you might allow your characters to impart images of things that happen when they speak. “I can’t seem to stop these goose bumps from rising, no matter what I do.”

5. Use strong verbs that convey action. Words such as twirled, jumped, scurried or plotted exemplify mental pictures by their nature.

6. If you can find a way to use ordinary things in other than ordinary ways, your imagery will come alive. What if you wrote about an automobile that pulled a tow truck or a short kid who is able to spike in volleyball? These seeming contradictions will ensure your imagery jumps off the page and into your reader’s memory.

7. Think small. Have your characters take note of the smallest details in your setting. Could you make use of the tiny nubs on the treads of a new tire? When might you point out the indentation at the bottom of a wine bottle? Can you employ the scratches on a cell phone screen in your novel?

8. Similes and metaphors are powerful tools to enhance your imagery. In my current novel, one character has hair as gray as a coming storm.

9. Personification is a useful tool when you create imagery in your novel. That is, give human-like qualities to something nonhuman. Here’s an example. “The breeze whispered through the woods.”

10. Not all of your imagery need be of the beautiful. In fact, readers will often appreciate just the opposite. In my second novel, the character all my female readers liked the most was the tall, chiseled hunk who fell for the dumpy farmer’s daughter. Without variation, they said they liked him for his love of the unattractive woman, not his good looks.

Do any of you have other examples as to how a novel writer might employ more compelling imagery? I’d appreciate your suggestions.

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

C. Patrick Schulze

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

Ten More Tips on How to Write Your Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

Welcome back. It’s nice to have you visit again. In today’s post, I’ll piggyback off of yesterday’s Ten Tips on How to Write a Novel with ten more all-purpose tips. Hope you find something here you can use.

Here are the first Ten Tips on How to Write a Novel.

Let’s pick up with number 11.

Keep your attitudes in check. This relates to the classic issues of “show vs. tell.” If you tell your reader the forest is ominous, that’s your opinion. What if your reader finds your ominous is his exhilarating? Your goal is to allow them to make up their own mind by offering them setting rather than sets. If you must offer an opinionated word or two, it works better if you use them within your dialogue.

12. Readers enjoy a good riddle, so give it to them. If you can work in a bit of mystery into your story, all the better.

13. Watch your speech tags. Most recommend you shy away from the classic error of substituting actions for the word, “said.” If you must use a word other than “said,” it’s best to use them in a preceding or following sentence. Here’s an example:

     Jane sighed and responded, “If I must.”
     It should read, 
     “Jane sighed when she responded. “If I must.”

14. Effect never comes before cause. When writing sentences, your best option is to place your active noun first, follow this with the action that occurs and then the effect of the action. Your victim doesn’t die before the murderer fires the gun and people recommend your sentence structure should mimic this concept.

15. Write with specificity. Now there’s a good word. By this I mean to get away from all the weak words we all use. Generally, Most often, these words end in “ly.” However, you might also find those pesky three-word phrases that need paring. You know what I mean, all those, “long, hot nights” or the “hard, packed ground” entries.

16. Write with conciseness. Rather, write with simple words and not with words like “conciseness.” Also, search out and eliminate phrases that can be replaced by single words. An example is, “due to the fact” might become “because.”

17. The pace of your novel is important. Imagine a car chase at three miles per hour. Sort of loses something, doesn’t it? Short choppy sentences speed up your writing, while long sentences slow it down. The same holds true for paragraphs and even chapters.

18. Suspense is super. Imagine your hero rushes in to diffuse the bomb. He grits he teeth as he glances at the timer. It says he’s got forty-seven days. Puff. There goes your suspense. Ticking clocks, proverbial or otherwise, help to build suspense.

19. The primary tools you have available to build characters are details, mannerisms and dialogue.

20. Good scenes need good structure. Chapters fill in well when they have three scenes, all of which should move your story toward its conclusion. Each scene requires conflict and an outcome of that conflict. Scenes also either resolve conflict or advance it.

Now, which of these ideas would you like fleshed out?

Are these suggestions everything you need to craft a well-writing novel? Nope. But they’re good start. Best of luck.

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

C. Patrick Schulze

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

10 Tips on How to Improve Your Writing

by C. Patrick Schulze

Listen to a PODCAST of this article.

Nice to have you visit again.

I am in the middle of wrestling my manuscript to the ground and find I learn something new every day. With that in mind, I thought I might offer all my writer friends some general writing tips on how to improve your writing. Outside of the first tip, these aren’t offered in any specific order other than what came to mind at the time.

Let’s begin with what I think is the secret to success as a writer: persistence. As a father, the mantra I imposed upon my poor daughters was, “Practice, practice, practice.” (Though grown, they still make fun of me about that one.) In any case, as with every profession, the more you do it the better you become.

2. Invade your readers’ senses. This means when writing you find opportunities to have your characters use their five, or as some say, twelve, senses. When your characters smell the honeysuckle, so do your readers.

3. Diamond’s are not a girl’s best friend. Well, I think it was Marilyn Monroe who informed all men that diamonds are indeed a girl’s best friend, but for women writers, (and their male counterparts), it’s verbs. The strength and exactness of the verbs you choose is the most powerful tool you possess to elevate your writing. The best verbs bring emotions or pictures to your readers’ minds.

4. Create interactive settings. That is, write in such a way as to have your setting come alive. The first time I took my writing to my critique group, every person mentioned a visual I had in my story. They commented on a scene where a boy reached up to grab his father’s shotgun from over the mantel and I wrote about the glow from the fire as it warmed the boy’s legs. It is those inconsequential images that paint those all important and powerful word pictures that immerse readers into your story.

5. Backstory belongs in the back. When I learned how to write backstory into my novel, I had to rewrite large chunks of what I already had on paper. Those long-winded paragraphs about what happened before my character came into my story became short, concise inserts within the story.

6. Bodies have language, too. Think of a person who has received astonishing news. What might they do at that time? Inhale? Shriek? Curl a lip? So might your characters. And best of all, readers love characters’ body language.

7. Conflict is king. Conflict is much like a drug drip in a hospital. That happy little bottle always hangs around and you get to dial it up whenever you want to. Conflict, not action mind you, but conflict is the power behind your novel.

8. If conflict is king, characterization is queen. Every novel rises and falls on the backs of those people who populate your novels. Effective characterization is a difficult skill to master but when you do, even you’ll fall for your books.

9. Knowledge is power. By this I mean, your writing has more strength if you give your readers the knowledge they require. It’s more interesting if your characters know the bomb is about to explode as this creates tension in your reader’s mind. As Alfred Hitchcock said, "There is no terror in a bang, only in the anticipation of it."

10. Give ‘em what they want. Your readers read for a reason and as a writer you should know that reason and cater to it. The lesson here is to learn your market. Write to satisfy your readers’ needs and not your own.

What tips might you like to share with my readers?

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

C. Patrick Schulze

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

There are No Rules! Really?

by C. Patrick Schulze

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

I may be missing something here, but I wonder why people in the industry say there are no rules in writing. Of course there are rules. Lot’s of ‘em. Everywhere you turn. 

Here’s a thought. Isn’t, “There are no rules” a rule in its own right? Thus, it would appear the statement is false on its face. So, have I’ve already made my point? Regardless, let’s journey forward.

“There are no rules” is considered by many just the Real Rule among the multitude of maxims they know exist.

Here’s one example that proves the invalidity of the Real Rule. 

     Don’t query fiction before you have a completed novel.

Of course, another rule says you don’t have to follow this rule if you’re already a successful novelist, or a celebrity, or a politician or this or that. But, that doesn’t make the Real Rule not a regulation for us mere mortals, does it?

Here’s more proof the Real Rule is incorrect.

     Don’t query unless your novel is well-written. 

That’s definitely a rule. 

Ah, I can hear the arguments now. “You’re talking about publishing! You must understand there are no rules when writing.”

Well, they are often interdependent, but let’s check that one out, too.

If there are no rules in writing, I guess you can write a novel that contains no conflict, right? Conflict in fiction is a rule, isn’t it? Maybe not if you believe the “no rules” rule.

Care for another example? When writing your novel, everyone says you need a sympathetic hero. How many novels would you sell if nobody cared for or identified with your protagonist? I guess we’ve found another rule that does exist.

Here’s another I guess you can ignore when writing; point of view. Just write from any and every viewpoint at any time. Right? I doubt even your mother would care to read that novel. Hum. Yet another rule.

One more, if you’ll bear with me. There is a rule when writing grammar that says you should eliminate most of your “-ly” words. Here again, another rule.

In addition to the many binding rules of writing, there are any number of ideas that are passed off as rules when they are not. One that comes to mind says fifty percent of your novel should be dialogue. That’s more a “guideline” as our pirate friends of the Caribbean might say. These sort of pseudo-maxims are a bit more difficult to address and beyond the scope of this article.

It’s probably time to stop and get to the point. My point is, there are rules, many and all kinds of them, and as writers we need to know and employ them.

With that said, I believe “there are no rules” is much like the rules of society. That is, rules do exist and people in power expect you to follow them, but it’s a lot more fun when you know how to break them. If fact, as Katherine Hepburn once gave words to my personal mantra, “If you obey all the rules, you’ll miss all the fun.” 

In general, rules are made to be broken, but for the majority of us we must be circumspect when we do so. Some, such as conflict in fiction or the sympathetic hero really should not be broken if we wish to sell our novels. Others, like the use of semicolons, can be manipulated. 

I recommend we think of the rules in writing as techniques or skill sets, if you will. Early in our writing careers we should first learn these various skills and methodologies. We should then adapt to them and become proficient with them. After we’ve reached that level of success that satisfies us, then figure out how to bend and even break the rules.

In the mean time, if we wish to sell our novels, we should jump through the hoops the industry requires of us and don’t give those people who say there are no rules too much sway over our writer’s life.

Okay, I’m done. Now I want to hear your arguments to the contrary.

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

C. Patrick Schulze

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

When is Too Much Sex, Too Much?

Listen to a podcast of this article HERE.

One of my blog readers asked me to expand on an earlier article, “How to Write a Sex Scene,” and today I’ll try and help her out. Her question entailed how much detail should one write into a sex scene. In my mind it’s up to the writer, but the answer varies according to writer’s target audience and the needs of the scene. Regardless, the reader’s imagination is the determining point.

Let’s look at the scene first. If you’re writing about raw sex, you might wish for more detail. Should you write about the power of love, you’d likely incorporate less. In the first case, you might include the feel of a woman’s wetness, whereas in the second you might offer nothing more than a bit of caressing as the two disappear behind a door. 

Think also about the scene’s perspective. Is it written from the eyes of an eighteen year-old male bully or from grandma’s? Imagine how the bully might envision sex in relation to how might your grandmother. (Sorry for that visual.)

Let’s now take a look at the target market. Imagine how “the first time” scene might change if you wrote about seventeen year olds, thirty-somethings or grandmothers. In the first, you might have a young boy’s initial experience which entails raw sex with much more physical and tactile detail. The second could be a woman’s first encounter since her oppressive divorce where the details revolve less on the physical than the emotional. Grandma’s first encounter since her husband died might have very little detail, (if you don’t mind…), and convey something like comfort or even betrayal. Each displays the same basic scene, but with wildly varying descriptions and need for detail. 

Here is how I feel about the subject in general. It’s all about the reader’s imagination. 

Consider this simple example of describing a woman’s eyes when writing this type of scene. 

     “As he grabbed her hair and pushed her down on him, her eyes grew wide as silver dollars.”

     “As he grabbed her hair and pulled her down on him, her eyes grew wide with excitement.”

Which of these lines creates the better vision to the reader? To me, everyone knows the size of a silver dollar and though the scene might be titillating, this simple detail reduces the reader’s option to use their imagination. In contrast, her eyes growing wide with excitement allows the readers to interpret how the character looked and thus makes the scene more personal to the reader. Now envision how involved a reader might be if a hundred details form in their mind, rather than on the page. This concept of appealing to the reader’s imagination applies regardless the level of detail. The more your reader employs their imagination, the more personal, more powerful the scene is to them.


I’m also all about the emotion of a scene. Consider a rape. Though the grabbing and thrusting it integral to the incident, if nothing else is described, the scene lacks much of its potential strength. However, if you write about how the woman emotionally responds to these actions, your writing will have much more impact.

To me, detail is dependent upon the scene and the audience. Use more of the reader’s imagination and fewer major details and I think you’ll write with more powerful imagery.

Now for some general tips.

A sex scene, as with all others, should maintain your writing style. Do you include every detail in every scene? Then continue in that vein. Do you skirt the large details for the small? Then carry on with that.


Highlight the tiny details. A man caressing the goose bumps on a woman’s thigh is more enticing than simply thrusting into her.

Think of your book writing more as an Impressionist painting than one from the realistic period.The Impressionists worked with blurs of color and motion, allowing the reader’s mind to see what they wanted to see. The viewer’s imagination filled in the gaps. In contrast, the Realists painted each and every detail, giving each as much power as the next. Though their work is amazing, you only see what they want you to see.

Color-code the emotions you write on the page. Some people use colored pencils or crayons, while others use their word processing text highlighter. It matters not, but here’s how it works. When you mention an emotion such as yearning, you might color it gray. Should you highlight that mood one gets when a couple cuddles after sharing sex, you could use gold.


After colorizing each emotion, make a flip-book of your pages and thumb through them. The colors that jump off the page will offer a strong insight as to the effectiveness of your writing and inform you if you’ve produced the type of article you wished. If your sex scene has a lot of black, for example, let’s hope it’s a rape. If the colors begin with cerulean, turn to yellow, shift to gold then orange and red, then back to blue, you’re probably on the mark for a love scene.


I read somewhere that “Details are the fingerprints of prose.” (Great line, don’t you think?) However, think of your details like spices. Too much salt or pepper and you’ll ruin the taste of the meal. So it is with your writing. Use your details sparingly so as not to overpower your reader.


When incorporating details, insure you employ your characters’, and thus your readers’, five senses. Have your character look at her nakedness, touch her skin and taste her lips. Have him hear her moan and smell her explosion. (And he’d damn well better see she has one.)

The general purpose of your novel is to transport your readers to another place and time. Would they rather go where they wanted or where you tell them. It’s all about the imagination.

It’s not about the sun, it’s about the warmth of the sun on one’s skin.

I do apologize for not offering specific instructions to leave in the erection and omit the sigh, but how much detail to write into a sex scene is up to the writer.


I wish you only best-sellers.

C. Patrick Schulze

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