Ever heard someone say, Write what you know? It sounds logical, but what does it really mean? To me, it means write what you are familiar with or what you can research. Even if you really know something, you want to weave your knowledge into the characters without the reader feeling like the author is doing the talking or spending too much time presenting minutiae. In my first fiction book, Angel Sometimes , I gave Angel the job of swimming as a mermaid. That was easy since I'd swam as a mermaid for four years. My second fiction book, Dismembering the Past is different. Matti McAllister, a Private Investigator, is the protagonist. But I've never been a PI, so I had to do a lot of research and, as I wrote, I found myself getting inside her head. You may base characters on people you know or people you've seen around town or people you've met online. The trick is to choose something from that person and give that fear or favorite song or way of talking, or wh...

In yesterday's post , I talked about how good TV shows can help writers develop their story's beginning. Today, I'm concluding with a short talk on how those same TV shows can help writers develop their "commercial breaks" in fiction. What are fiction's commercial breaks? Chapter and scene endings. Just like TV writers need to hook viewers to keep them waiting through commercial breaks to see what happens next, fiction writers need to write riveting chapter and scene endings so that readers will want to flip the page to the next chapter or hurdle their eyes over white space to rush to the next scene. Make those commercial breaks count... In The TV Writer's Workbook: A Creative Approach to Television Scripts , writer Ellen Sandler states that a scene needs a narrative structure and that this structure contains three interconnected elements: the setup (beginning), the power switch or turning point (middle), and the arrow (end). The arrow is wha...

Last month, I got together with a big group of friends. We’re all writers of one kind or another and you couldn’t ask for a better convergence of personalities. We meet at various houses, supposedly for lunch, but it goes beyond that since “lunch” usually lasts around 3 or 4 hours. We gathered at a perfect house. Not a humongous house like those around a country club. Not a cozy lake house overlooking Lake Travis. The house was perfect because it so very much reflects the owner. It’s bright; it’s funky; it’s elegant; it’s colorful; it’s warm; it’s inviting. It’s HER. You could be blindfolded, taken to this house, and when you saw it, you’d know whose home you were at.  Now that’s something to keep in mind when you’re establishing character. The character’s home tells a lot about that person. It’s not black or white. It tells you about the character. Also keep in mind that every character’s home, office, car, etc. doesn’t have to match your tastes. They should match the tastes ...

A few weeks ago, I read a wonderful book, Recipe for a Happy Life by Brenda Janowitz, and I realized something. Every time I landed on white space -- between chapters and scenes -- I rushed to get to the next words in the story. Janowitz was obviously doing something right in how she ended her chapters and scenes. Twists, surprises, questions regarding the character's ability to grow, and disasters were some ways in which she chose to end chapters and scenes. Other strategies that writers might incorporate into their stories include revelations, questions left unanswered, and a great piece of dialogue that leaves the reader wondering what the dialogue means. In Aaron Elkins' Writer's Digest article, " Three Ways to Know when to End Your Chapters ," two other ways to consider ending chapters are breaking chapters where shifts in the story occur (change of place, time, or point of view, for example) and breaking "chapters in the heart of the action."...

Often, I tell editing clients, "Scene (or Chapter) needs a stronger ending. You want to compel (and propel) the reader to the next scene (or chapter)." This usually leads to a talk about cliffhangers and best practices in developing them. Although I suggest several ways to work on this, I always tell clients to remember the main plot. Readers continue reading to see how that plot (and sub-plots) concludes. If a scene (and definitely a chapter) ends with no mention of the main plot, no tie back to it, it can leave the reader wondering, What happened to the story? The same way I tell my Freshman Comp students to tie their paragraphs to their thesis, it’s important for creative writers to make sure scenes and chapters close in a way that keep the reader on the story .   ~~~~~~~~~~ Shon Bacon is an author, doctoral candidate, editor, and educator. She has published both creatively and academically. Shon also interviews women writers on her popular blog ChickLitGurrl: high...

If your manuscript has come back from your editor noting a lack of conflict , don’t despair. Adding conflict in retrospect is easier than you might think. If your editor has marked passages she believes would benefit from added conflict, you can tick off a third of the job already. The next steps are planning and writing the extra scenes. Change Something A very easy way to insert conflict in a scene is to create a major change in the protagonist’s knowledge, expectations, perspective, relationships, etc. For example, the protagonist could expect one outcome but be forced to deal with another , or learn something that changes her perspective and sets her on a different path. Anything that makes a major, plot-related difference at the end of the scene compared to the beginning is a conflict within the scene itself. This is also a good way to test your chapters and scenes: if nothing changes plot-wise within a chapter, it is incomplete. Inner Conflict The protagonist’s thoughts...