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"

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"

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"

How to Develop a Novel's Plot

by C. Patrick Schulze

Listen to a PODCAST of this article.

There are any number of required elements one must infuse into their novel to make it successful. However, few NOVELS will succeed if the authors does not know how to develop a novel's PLOT.

Plot is defined in many ways, but for the sake of this article, I'll say plot is those sequential events that transpire within your novel. You know what I mean. Boy meets girl, boy gets girl, girl tells boy they need a break, boy meets some young chippy at the copy store for a one-nighter and girl lords it over boy's head forever. (Sound familiar?)

So, how might one develop a novel's plot?

Allow me to present a formula, if you will, that may help with this task. If you follow the steps outlined here, you'll end up with a story, every time. Let's get started.

1. Begin with the proverbial hook. Make it so exciting they want to read more.

2. Show your main character's normal life. What is it he's about to lose?

3. Introduce your villain, even if he's not identified as such.

4. Introduce your third wheel and other lesser characters.

5. Introduce the hero's problem or desire. He wants something. What is it?

6. Show how the villain plans to thwart your hero. There's a reason they call him the villain.

7. Show your hero's flaws. What is it about him that will keep him from his goal?

8. Give your hero an irresistible shove and move him away from his normal life to face the required challenges that keep him from his want.

9. Get your hero moving on the path toward his goal.

10. Toss in a few unexpected obstacles or characters who try to deter him from his goal.

11. Have your hero fail in his attempts to move forward. He must realize he cannot reach his goal without assistance.

12. Have your protagonist meet any number or sort of allies and teachers. They give him the tools, whether physical, mental or emotional, to accomplish his goal.

13. It may be time to toss in some comic relief.

14. Your hero should progress toward his goal now that he's attained allies and experience.

15. Uh-oh! Your hero faces another terrible ordeal which he is unable to overcome.

16. More new skills are learned so the hero can move forward on his quest. This may mean new allies or old one who help in new ways.

17. Now, your protagonist must move forward on his own. In effect, his allies can help no more.

18. More comic relief? Maybe, maybe not.

19. Your hero comes to the conclusion he is unable to make his desires a reality. He feels he has failed.

20. But wait! There's more! Something or someone appears and helps your hero get back on track.

21. Your hero again moves forward on his quest.

22. The Big Bad Wolf appears in all his evil glory. Even though he'd been introduced earlier, his true wickedness now comes to light.

23. The hero is defeated, but not killed, by the Big Bad Wolf.

24. Some new and necessary tool or strength is found by your hero.

25. Your hero realizes he must lose something of value if he is to defeat his antagonist. Will he lose the girl if he continues on his quest?

26. Your hero grows in wisdom and realized what is important and what is not.

27. With this evolution, your hero determines to get back into the game.

28. Your hero faces the Big Bad Wolf once more and this time defeats the villain. 

29. But wait! There's still more! The hero doesn't realize it, but the villain is not really dead and the bad guy rises to attack once more.

30. The good guy finally kills the evil doer.

31. Everyone goes home and we find out who gets the girl, the jewels, the weapons, the knowledge or whatever.

32. Everyone lives happily ever after. Ah, except the villain, of course.

Keep in mind this outline is universal in nature. The formula works regardless the genre of your novel.

Must you follow this outline in perfect sequence? Not at all. You can mix up the order and even delete a couple steps if it works for you novel.

The secret, of course, is to create a scene from each of these points. If you do, you've got yourself a general storyline.

What questions to you have as to how to develop a novel's plot?

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

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 a Mystery Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

Mystery novels are one of the most widely read genres but are novels nonetheless. Therefore, a mystery novel needs all the fundamental elements every other novel requires. Mystery novels require a well written storyline, a sympathetic hero, a villain, effective dialogue and all the rest. However, a mystery novel requires one thing other novels do not, the proverbial “twist.” That’s the unexpected yet interesting and logical conclusion.

The secret to a mystery novel is to make your reader believe they know what is going on, when in fact, they do not. After all, they are called mystery novels for a reason.

It’s often best to figure out your plot, then write to your characters. That means to first decide what type of mystery novel you’ll write. Is it a ghost story, a murder mystery or maybe a story about a baffling disappearance? You can’t get there if you don’t know where you’re going. Next, you might want to decide on your twist. Then give serious consideration to an outline. You’ll need to incorporate a few false leads or red herrings and a well thought outline will keep these on track. You’ll also have to plant all those subtle clues and your outline will assist you from missing or misplacing any of your evidence.

Once this is in place, consider the following concepts about mystery novels:

You should introduce your mystery early. This means within the first fifty pages or three chapters. It’s a flexible rule, but you get the point.

Ensure you make your criminal and crime relate to each other. You’ll never convince your reader it was the grandmother who strafed the politicians in an F-22 Raptor.

Have your criminal appear early in your novel. Give your readers an opportunity to figure out who done it. They’ll be wrong, of course, but they don’t need to know that until the very end.

You’ll want your crime to be credible and accurate. People are critical these days so don’t give them a reason to tell others your novel isn’t believable.

Ensure your facts are accurate. Visit police departments, PIs and the like. Make friends of these people for they know the truth of their industries. Check out the FBI’s home page and read "A Writer's Guide to Poisons" by Serita Stevens, if it fits your novel. Do whatever you must to become an expert in the field in which you write. I met one writer who wrote a mystery that required the use of birds of prey, so he became a falconer. As they say, no sacrifice too small.

Keep away from supernatural sleuthing capabilities. (Yes, there are exceptions to this.) In general however, your reader must feel the tools and techniques the crime solver uses are at least reasonably authentic.

Don’t employ luck or chance as a method of solving the crime. Give your readers an opportunity to figure it out for themselves.

Create a clever ending. The reader expects to be at least fulfilled, if not shocked, by the ending.

Always keep the “fair-play” rule in mind. Your reader should have a reasonable chance of solving the mystery for themselves. That’s not to say they can’t be mislead by a red herring or two, but they need to know everything, just as the detective does.

So, are there any mystery writers out there with other advice for our readers?

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

C. Patrick Schulze

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

Writing a Novel’s Plot

by C. Patrick Schulze

Listen to a PODCAST of this article.

As an author learns how to write a novel, he must develop the skill to pen an effective plot, or that string of events through which your major characters move.

The first concept to understand about plot is the recipe. Gather your two needed ingredients, story and conflict, then blend them together and bake it up. You must have both ingredients, story and conflict, for it to taste just right.

Another way to look at this concept is a story asks the questions of what and how, whereas the plot asks the why.

Your plot is not just a jumble of unrelated events. It’s comprised of a series of events that follow naturally from one to the next.

Read this for more on PLOT.

A secret to plot is that it is directly related to your major characters’ personalities, especially your hero’s. As one event occurs, the character’s persona encourages him to make a decision as to how to respond to this occurrence. This, in turn, forces the next event. This relationship between characterization and plot is why there are so few plot lines but so many stories.

Of course the main rationale for plot is to entertain your readers, but other than that, what does it do? It’s primary purposes include:

1. Move your story forward and toward its conclusion

2. Give life to your characters

3. Foreshadow coming events.

4. Propel your hero toward his goal and past his many obstacles

Though some disagree with the number of elements in a plot, I see seven major components to plot. They are:

1. Your hero or protagonist: You need someone, or something, to move through your story.

2. The setting in which your hero finds himself: Everything happens somewhere and at some time.

3. The goal your hero must achieve: Every protagonist needs a great quest of some sort.

4. The conflict he faces: During his quest, your hero will come upon difficulties that hamper his forward movement toward his goals.

5. The turning point of your story: At some place in your story, the major character must make a decision that alters everything.

6. The near disaster your hero must endure: Every hero must face an ultimate challenge that can, at least metaphorically, kill him.

7. The resolution of the story. Your story needs an ending, don’t you think and shouldn’t it all come out for the best?

Once you grasp these basic fundamentals, you’re well on your way to an effective storyline.

Now, here are some general tips as to how to develop your plot.

Plot develops by way of the adversity your characters face. Their physical and emotional responses to this adversity is what develops your plot. Imagine “Lord of the Rings” if none of those characters faced problems. Wouldn’t quite have the punch, would it?

You plot should foreshadow all major conflict points. Though mysteries may have a bye in this regard, your plot should identify all troubling events that are yet to transpire. To reword this, what happens early in your story sets up what is to happen later.

Your hero must at some point, take things in hand. He’s the good guy in your narrative and he needs to possess the strength and fortitude to do what his challenge requires of him.

Nothing happens at random. Every part of your plot should have a reason for being in your story.

The plot is not only about your hero. Each of your major characters, of which there should be no more than three, has their own agenda. And these agendas most often conflict with those of the other primary characters.

Your plot should show the personalities of your major characters. That is, the way they react to what happens to them should give your reader a better understanding of who these people really are.

If you’ll insure your plot drives your story and not the other way around, you’ll find your writing life will have a better chance to thrive.

Now, what else might you wish to know about plot?

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

C. Patrick Schulze

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

The Keys to Effective Dialogue in Novels

by C. Patrick Schulze

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

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

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

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

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

Here are some tips for creating better dialogue.

Punctuation Counts

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

A quick example:

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

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

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

For more on dialogue punctuation, read THIS blog post.

Dialogue is Different

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

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

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

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

John said, “What did you do today?”

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

“Not much.”

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

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

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

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

John said, “What did you do today?”

Mary answered, “I ran into Sara.”

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

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

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

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

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

C. Patrick Schulze

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

Plot Tips for the Aspiring Author

By C. Patrick Schulze

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

Before we begin, it’s probably a good idea to define the concept of plot. In general terms, it’s the problems your hero confronts as he travels through the world you’ve created for him. Plot is what keeps your readers’ interest.

Your plot is comprised of three major components, the Complication, the Climax and the Resolution. The Complication involves those scenes that begin your major conflict or plot point. The Complication identifies for your reader what dramatic quest your hero must undergo. The Climax is that plot point where your premier character faces his Complication, the bad guy. The Resolution, of course, is that series of events that solve the conflict outlined in the Complication. It closes the story.

It may help to think of your plot as a three-act play. Your first act is the Complication, the second the Climax and the third, of course, the Resolution.

For some general tips on how to develop your plot, consider the following:

1. Make sure your hero suffers. His trials can be emotional, physical, mental, or best of all, a combination of the three. Keep in mind the more he suffers, the better is his exhilaration during the Resolution phase.

2. The conflict you create must have enough power to encompass the entirety of your story. A secret to this is to interweave subplots into your novel. (For more on subplots, read THIS article.)

3. Insure your hero and villain are evenly matched. It’s important for the story that your reader never knows if your hero will survive his ordeal. He will, and they know it, but you do need to create that sense of doubt for your plot to work with efficiency.

4. Each chapter of your story should hang on an issue. As a famous author whom I can’t quote at this time said, someone must want something in every chapter, even if it’s only a glass of water. This constant tension will keep your audience wanting to read more.

5. Make sure you couple the correct setting with your conflict and plot points. It’s more riveting for your hero to suffer thirst in the desert than a coffee shop. (For more on setting, read THIS article.)

6. At some time, your hero must grab the bull by the horns and get into it with the villain. Nobody wants to read about an indecisive hero. Get the man dirty.

7. It’s not nice to fool Mother Nature, but it’s just fine to fool your reader. Give your plot twists and turns to confuse and surprise them. I think they call this, "mystery."

8. Foreshadowing is a powerful tool when developing your plot. Let them know something ominous is coming, just don’t spill those proverbial beans too soon.

9. Try to stay away from stereotypes in fiction. The nun who works for the underground is more interesting than the soldier who does so. 

10. Let your plot develop as you move through your story. Don’t be afraid to allow your imagination to take your characters where it wants them to go.

11. The secret to your success as a writer of fiction is the good story. And the good story is all about plot. And plot is all about conflict.

What tips might you have to pass along as to how you develop your plot?

Best of luck with developing your plot, and know I wish for you only best-sellers.

C. Patrick Schulze

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

10 Tips To Reveal Your Character's Inner Self

by C. Patrick Schulze

Listen to the podcast of this article HERE.

One of the three primary secrets to any good novel is effective characterization. The others, of course, are story and dialogue. Without populating your novel with characters the reader will appreciate, there is little chance your novel will succeed. This is not to say a great deal more isn’t necessary to write The Great American Novel, but without this, you’ve got no story.

Your reader needs to become acquainted with your main characters to identify with them and I’ve worked up a list of ten basic steps by which you develop your character’s. They are:

1. The character’s physical description

2. The author’s psychological portrayal of that character

3. What the character says

4. How the character says what he says

5. What the character does

6. What the character thinks

7. The things other characters say about him

8. His reactions to things, people and events around him

9. His how he reacts to himself

10. Your setting

Presenting this type of information all at once is frowned upon in the writing world. So much so, that action has a rather unpleasant sounding name assigned to it. That name is, “Info-dump.” Therefore, for best effect, you’d want to sprinkle these situation around in the pages of your story. 

I’m certain you can see how most of these techniques will highlight your character’s personality. After all, isn’t that much the way things work in real life? Regardless, let’s toss in a couple of examples.

You’d not want to use only one or two of these techniques and shun the rest. Utilize a number of them for wider appeal. 

A premier “rule” in creative writing it to “show, don’t tell.” Of course, rules are designed for breaking, but with that in mind, you’d want to shy away from the first item, their physical description, and the second, the authors’ psychological portrayal, as they tend to, “tell.”

As an example of the third item, what he says, in my current manuscript my hero, Jak, is working with a crew to cut down trees. When one wood behemoth refuses to fall, Jak say, “I’ve yet to be bested by an overgrown log.” When I had my critique group read that chapter, a couple of the reviewers mentioned that line and said it told them so much about Jak’s personality. So, the words your character uses are powerful indicators of his individuality.

Let’s give number seven, those things one character says about another, some consideration, too. I think this type of character embellishment allows for interesting opportunities in your novel. It opens the door to misdirection, deception and all sorts and other opportunities to enhance and even introduce plot points into your manuscript. If you possess the imagination, this technique has twists and turns hidden within it, and you can utilize them to great effect.

There’s one of these techniques many authors don’t understand well, so I’ll give it a bit of special attention. Consider number ten, your setting. So, too, it gives strong hints as to their personalities. For example, compare a warrior living in the second century to one living in the twenty-first. Don’t you think they’ll have differing outlooks toward war, even though that theme transcends both time frames? Give your setting serious consideration as part of the development of your characters. You can read more about setting in this Setting is much more to your novel than simply a place and time. It is as powerful as any component of your novel and can shape your characters to a great degree.ARTICLE.

Review these techniques and employ them throughout your novels, and you’ll find your readers become more involved with your characters.

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

C. Patrick Schulze

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

How to Write Battle Scenes

How to Write Battle Scenes

By C. Patrick Schulze

Listen to a podcast of this article here.

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

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

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

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

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

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

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

Now for some general tips.

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

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

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

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

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

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

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

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

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

C. Patrick Schulze

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

The Power of Subplot

Listen to the podcast of the article HERE.

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

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

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

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

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

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

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

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

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

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

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

C. Patrick Schulze

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