The Power of Subplot

Listen to the podcast of the article HERE.

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

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

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

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

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

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

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

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

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

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

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

C. Patrick Schulze

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

The Secret to Secrets in Novels

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

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

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

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

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

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

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

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

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

C. Patrick Schulze

Author of "Born to be Brothers"

(Coming Soon.)

4 Steps to Character Development

We all realize one of the most critical components in the craft of writing any novel is its characters. Without effective characterization, the chance of penning a successful novel approaches zero. Therefore, I spend much of my writing time creating those people who will populate my manuscripts. Personally, I use a four-step process for developing my characters.

These four steps are:

1.     Summarize the type of character needed for the story

2.     Find a photo of that person

3.     Interview my main characters

4.     Review my character's reactions during the editing process

First, I jot down the basic characteristics I'll need for my hero, villain and any love interest. I focus more on their personality than physical characteristics and I try to envision how this person I'm creating will react to situations I already imagine will occur in the story.

I sort of feel this person out and makes notes as my mind wanders between the character and the story. Other writers fill in formal note cards or databases, many types of which you can find on the Internet. It matters not how you gather this information, but knowing my characters' personalities before I craft them helps me flesh them out as I write.

Next I locate, cut out and paste up photos of my characters. I physically mount their faces, and if necessary to the story, full body photos of my people. I pay very close attention to the look in their eyes, for I need specific personality types, and the eyes are the harbinger of this. I might take hours upon hours to find the perfect pictures, but when I have them, I paste these photos on a piece of poster board and keep it on my desk as I write. Early in the writing process, I refer to these photos often, especially when I write dialogue, which I think is one of the secrets to effective dialogue. As I become more familiar with the characters as individuals, I refer to their photos less and less, but still keep the mounting board on my desk as I write.  

Third, I interview my characters. Yes, it is a formal interview as if I'm speaking to someone for a magazine article. By now I've developed a basic storyline so I ask them questions that relate to my story. For example, in an early manuscript, my heroine learned her husband died in battle and she traveled to the field to find his remains. (It was common in the era in which I write.) So, I asked her, "Lorena, it's late at night and you've wandered over this horrid field with a lantern for hours. You've just found your husband, dead on the battlefield. How would you react to this?" I allow my instincts about this character to answer for me. If I don't get an answer that can translate into an effective scene, I consider altering the scene and/or characterization of this person. By the time I've reviewed most of my story's major plot points as they relate to my major characters, I've got a firm visualization of who my characters are and how I'll write about them in my manuscript.

Finally, as I edit my work I study how my characters reacted to the various situations in which I've placed them. Did they respond according to the  personality I've given them? Did they act as expected? If not, what has to change, the scene, the character or both? The situations in which my characters find themselves have often morphed into something quite different than I'd visualized in my first draft. I consider it imperative to insure my character's have adapted to these new situations in a fashion consistent with their personalities.

My manuscripts are character-driven and this four-step process insures those people I create mesh with my plot points and storyline without issue.

Are there other techniques or tips you use to create your characters? Let me know and I'll post them, with appropriate credit, of course.

Until then, I wish you only best-sellers.

C. Patrick Schulze

The Secrets to Your Novel Writer's Reputation

I can only suppose you're reading this article because you are already a successful author or you plan that same accomplishment soon. If either case is true, then you've got a professional standing to uphold. How might you go about keeping your reputation up to form? As with anything worthwhile, it's a bit time consuming but necessary. The good news, there are only a few secrets to keep in mind.


I attended The James River Writer's Conference last year and listened to a panel where all three speakers agreed to the concept a writer needs to spend seventy-five percent of their time marketing their business and twenty-five percent writing. This means that to keep up your status as a professional writer, you should spend a great deal of your efforts on promoting your name and maintaining your status as a professional. Look at it like this. An Olympian isn't racing most of the time, he's practicing. The secret is this concept applies to your writing.


Basically, there are six major steps you should consider if you wish to build and maintain a professional writer's reputation. I'll outline them then discuss each in a bit more detail. These considerations are:


1. Utilize Social Networking
2. Join an Association
3. Create Your Web Presence
4. Write Nonfiction
5. Keep a Professionals Attitude
6. Stay Current


Utilize Social Networking: You've chosen a field where the competition is fierce, and when a novel writer wants to generate buzz about his manuscript, you have to employ WOM, or word of mouth. Keep in mind social networking is beyond simple posts on Facebook and Twitter, though these are important. You should also join writers' groups, attend conferences and the like. Be found in those places where writers and readers congregate. Despite all the technological advances in recent years, WOM is still your best way of getting known.


Join an association: Once you're published, joining a professional writers' association helps build your cred. For example, if you write mysteries, consider the Mystery Writers of America. Find whatever organization(s) fit your genre then pay their dues and go to their gatherings. It's a great way to hobnob with the successful and to garner loads of useful information


Create Your Web Presence: In any earlier post, (read it here), I talked about when to build your web site, but you should begin to build your web presence well before the web site is up and running. However, if you wish to establish a profile page sooner, that's not a bad idea. You should establish a blog one to three years prior to becoming published. Update this no less than weekly. You should have a professional email, (mine is CPatrickSchulze@yahoo.com). Be sure to include this web information on business cards and other marketing material you might produce.


Write nonfiction: You write fiction all the time. Why not improve your cred by writing nonfiction, such as this article? It helps you boost your reputation as a writer and if you're unpublished, it also builds confidence.


Maintain a Professional Attitude: Nobody wants to do business with a prim donna or a fool. The more professional your presentation, the more others are willing to deal with you. And, after all, you are in The Business of Writing. You'll gather more potential proponents and customers with the correct personal presentation. The old adage of "Image is Everything," holds true in this industry as with any other.


There was an agent I followed on Twitter, had placed in my database, and planned to query at the appropriate time. I met her at a writer's conference and although her personal appearance was well below standards, I attempted to look past that to get to know her and appreciate the work she might perform for me. Quite frankly, she's a bitchy woman who looked down upon the unpublished and I soon discovered she is someone with whom I could never work. She lacked even a modicum of professionalism and I've dropped her as a possible agent. If you don't present a professional attitude the reverse happens to you as a writer.


Stay Current: Keep your knowledge of publishing trends and market preferences up to date. You do this by reading industry magazines, various newsletters, blogs, articles and by reading the invaluable information on Twitter and other social networking sites. Staying current also means to write, write, and write some more.
Are there other thing you must do to establish and maintain your cred? You bet there is. However, get these initial steps under your belt and these other opportunities present themselves to you.


Do you have any stories about how you've worked to build your credentials as a professional writer? Are there other ways you go about building your reputation?


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


C. Patrick Schulze

The Secrets of the Dreaded Synopsis

I’ve yet to meet an author who looked forward to writing their novel synopsis. In fact, many believe it’s more difficult to write than the novel itself. Not to say it’s easy, but a few simple tenets can get you started.

Let’s first ask if a synopsis is even necessary these days. From reading the submission guidelines of agents, I see many don’t request one and that leads me to believe it has lost much of its influence. However, some still do, and as an aspiring author never knows which agent will represent them, it’s a good idea to have it ready.

The second question is why would an agent would feel a synopsis necessary. The critical reason I found in researching this article is it can be THE pivotal item that gets an editor to read your manuscript. That’s enough for me right there. However, if you need more, consider the following. A well-crafted synopsis can assist the author in finding weak plot points and point you toward ways to polish your story arc. It also assists in improving characterization, plot and setting. Further, it is often utilized by various departments of a publishing house once they accept your novel.

We now know the if and why, but what about the what? What, after all, is a synopsis? Many confuse it with an outline which describes what occurs in the storyline, to whom it happens and when it happens. In contrast, a synopsis portrays the “why” of your story. The novel outline describes the action or what happens, whereas the synopsis offers the conflict or how your characters react to that action.

The essential components to a novel synopsis are:

1. The Opening Hook
2. Character Sketches
3. Plot Highlights
4. The Core Conflict
5. The Conclusion

If you think about what the synopsis is supposed to accomplish, these five aspects make perfect sense. It will give the various readers a good feel for everything they might need to know about your story. Let’s look at each of these components.

The Opening Hook: Start strong. Remember this is about conflict, how and why your characters react the way they do. It is not about action, what happens to them. For example, you would not open with the first line following for it speaks of the action in the story, whereas the second tells the reader about the characters’ REactions.

Two men fight over a woman.
Two brothers lose their friendship when a woman comes between them.

As with any reader, the agent looks for something that will engage them. If your story doesn’t’ sound interesting right away, they’ll probably not read further. You’ve got ninety seconds, so power your way through them.

Character Sketches: This does not mean you describe your characters but rather get to their individual core conflict and the conflict between your two or three main characters. What makes your hero undertake his great quest? Why is your villain working with such diligence to thwart your protagonist? Think motivation rather than descriptions.

Plot Highlights: Give some detail to the first and the climactic scenes and a couple of those in the middle of your story. Use only those scenes that highlight the emotional action and conflict within your story. Make sure whoever reads your synopsis knows just how much trouble befalls your hero.

Core Conflict: Your Opening Hook will probably introduce your core conflict, but make sure you enhance it here. Don’t allow anyone to misunderstand the “why” of your story. If you have multiple conflicts, highlight the premier point then maybe the next couple of levels.

The Conclusion: Show the agent your novel is worked to its completion and flesh out the ending. They want to know the entire story. If they don’t know the ending, they’ll assume it doesn’t work. Tie together any major loose strings and point to a sequel if your novel is one of a planned series.

That’s all there is to it. With things spelled out like this, it doesn’t seem quite so onerous, does it? Use your writer’s voice as you did with your novel and the agent will have a good idea of what it is you’re offering for him to sell.

Best of luck and know I wish you only best-sellers.

C. Patrick Schulze

The Secrets to Effective Descriptions in Novels

When you, as the author of a novel, describe a scene, character or setting, you’re painting a verbal picture for your reader. You’re using sensory detail to immerse your reader in your words. A well-written description should do the same thing as dialogue; it should move the story forward and add to characterization. 

The secret to presenting descriptions in a novel is all about discipline and imagination. It may seem odd to relate those two things, but it’s important for the successful author to understand this association. The discipline, I’m afraid, is the responsibility of the writer while the reader gets the fun part, the imagination.


As writers we must discipline ourselves to give readers what it is they want to read. And this takes us to why people purchase novels in the first place. After all, they know its fiction, and therefore a lie. Don’t we spend most of our lives trying not to buy someone else’s lies? Why then would the reader put up his hard-earned money to purchase a stranger’s lie? It’s because novel writers take the reader on an adventure, someplace they can never experience, but only imagine. The reader uses his imagination to create personal pictures your words represent. These mental pictures are relevant to him and him alone, making the story more realistic and personal. His imagination does most of the author’s work of transporting the reader to that netherworld he craves.


Consider, if you will, a warm, sunny day with you racing down the open road in a sleek convertible. Your favorite music is blaring as your hair whips in the wind and the love of your life snuggles next to you.


Oh, I forgot to mention, the convertible is pea-green.


I just gave you too much information, didn’t I? The enjoyable picture you’d fashioned in your mind just slipped a notch, didn’t it? It might have been ruined altogether, because of one word too many. So it is with descriptions in your novels.


It’s all about their imagination, not your writing skills. You may be able to paint a wondrous image with your words, but its’ not about your words. It’s about the pictures the reader creates.


So, the true secret to describing anything is to discipline yourself to describe only those necessary things, and then to describe them with no more words than necessary to evoke the readers imagination.


Here are some tips on how to create your descriptions.


Blend, don’t list, characteristics. That is to present details within action. Instead of telling the reader about the many multicolored wildflowers in the field, have the protagonist picking the flowers. Have him mention the many colors, hand the multicolored bouquet he’s gathered to his love, etc. Unless they’re important to the story, don’t just describe the flowers use them within the actions of your characters.


Don’t describe too many things. Descriptions slow a story and the more of them you have, the worse your writing will appear.


When you do describe something, consider the not so obvious details and offer the reader something to spark their imagination. For example, you might mention not only the bright light seeping into the room from between the slats of the blinds, but how the plants on the desk arch their leaves toward the limited sunlight.


I’ve already mentioned descriptions slow scene. You might use one, however, if you wish to retard the action and give your readers a breather.


Use nebulous rather than specific words. This allows the reader to use their imagination. For example, she doesn’t have eyes the size of silver dollars, she has oversized eyes. The reader will determine for himself what “oversized” means.


Avoid flowery language, especially the abuse of adjectives and adverbs. His “gangly approach toward the cusp of manhood” might be reworded to say “he turned fifteen.”


A rule of thumb is a description should be kept to no more than four or five sentences. Never use five when two will do the trick.


Describe those things that differ every time you see one. There’s little need to portray a red rose, as it’s pretty much a red rose everywhere you go. (Yes, I know there are a million varieties, but when you write, “rose,” the identical image come to almost everyone’s mind.) An antique pocket watch, however, is unique almost every time.


Effective descriptions are difficult to master, but mastering the technique will lift your writing to a new level. Best of luck.


Until next time, I wish you only best-sellers.


C. Patrick Schulze

Tips on How to Find an Agent for Your Novel

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

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

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

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

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

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

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

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

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

Until then, I wish you best-sellers.

C. Patrick Schulze