Recently I wrote an Amazon review of a new novel, Dream of Darkness by John Yeoman*, book two in a mystery series set in the late 1500s. I’m a sucker for both mysteries and historical novels, so it’s not surprising that I enjoyed this book, especially since Yeoman is an outstanding writer. But this book is a lot more than a mystery or even a novel. John Yeoman ** is not only an outstanding writer, he is an outstanding teacher. Dream of Darkness proves it. Dream of Darkness is a fictorial. If like me you are not familiar with this term, here’s the description from its Amazon page: “an intriguing crime mystery – and also a step-by-step guide to writing your own novel. It’s one of the world’s first ‘fictorials’, an historical crime novel packed with clever but unobtrusive tips that show you precisely how it was written.” Before I began to read, I admit I was dubious. Sounded confusing. As I shuffled through the pages of the first chapter, it also looked confusing. There...

We have learned how to avoid backstory plot holes and discussed how to layer backstory to create conflict. This week, we look at other ways to manipulate backstory. 1. It is tempting to cheat by inserting letters, news articles, and pages from a book or diary to impart information. There may be instances where it works, but rarely. These shortcuts are generally boring in nature. Even worse, they are often placed in italics. If you insist on this, keep it short and simple. Pages of italics strain the eyes. Backstory in the form of letters or journal entries tests a reader's patience. They draw the reader out of real time. A few readers adore them. Most don't. I scan read them. If they are too long, I skip over them. They rarely contain conflict and are a lazy way of delivering information. If the contents can be summarized quickly through internal dialogue or dialogue, do that instead. We don't need to see a long news article about a body being found. Dick can...

Last time , we discussed how to avoid backstory plot holes. This week, we offer ideas for layering backstory into your plot to create conflict. 1. You can reveal your protagonist's critical flaw by explaining something that happened in the past. The critical flaw is revealed near the beginning to explain why Dick is drawn into the story problem and trips him up along the way. The flaw, his kryptonite, can stem from a traumatic episode from the past. 2. The secret weapon is revealed early on to explain why Dick, and only Dick, can solve the overall story problem. It can be a talent, strength of character, belief, or an actual object. You can show him using his secret weapon, or refusing to use it, in the past before he is called upon to use it in the present. 3. Whatever skills or failings Dick has, don't whip them out at the last minute by saying, "Oh, yeah, back in school I used to (fill in the blank)." That is backfilling and it is a no-no. 4. Backstory ca...

Backstory, when used properly, enriches a plot. Used poorly, backstory creates a plot hole that your reader is forced to skip over or sludge through. Most readers skip past the boring bits. The problem with backstory is often two-fold: too much too soon, or way too much information. Backstory can be related through dialogue, flashback, internal dialogue, thoughts, and narrative. Over the next few posts, we'll explore the finer points of using backstory with mastery. 1. Don't begin your novel with backstory. Invest your readers in the current situation before trying to explain the character's history. Otherwise, why should they care? If the action has already passed, we know the characters lived to tell about it. It may have bearing on what is happening now, but the characters survived and have moved onto what is happening now. The reader may feel there is no need to read a long passage detailing what happened in the past if the characters are clearly functionin...

I’ve seen a lot of questions about using prologue and epilogue lately in forums. I’ve heard many an agent or panelist at a conference say: cut them, period! There is some truth to that. However, I’ve seen both done well. This rule is often broken to effect, particularly in Literary, Fantasy, and Thriller and Suspense genres. The prologue gives background information to the story that would give the reader insight that helps the story move along that is not found within the story itself. An author might add a prologue to help the story flow more smoothly by getting in information that would be clumsily delivered otherwise. The epilogue is the opposite. It helps tie up loose ends or possibly hint about a sequel or continuation of the series. An author could add an epilogue to entice the reader into buying the next book in a series or provide resolution by telling us how the characters end up further down the timeline. There are multiple ways to use prologue and epilogue...

Setting is a character. It can be a friend, foe, or antagonist. It lives and breathes. It can set the tone and atmosphere. It can create obstacles or remove them. The last series I wrote took a year to research (pre-written-history Greece). I took some liberties with it, given there is no documentation. My current novel is set in Victorian England and will involve a vast amount of research. Yes, I am a glutton for punishment. There are a number of ways to approach the setting for your book. Contemporary settings and real locations are probably the easiest, but that does not let you off the hook when it comes to research. 1) You can use a real place. This requires that you research the place in question. You can use Google maps as a start or visit the town if you want to be precise. It gets trickier the further from home you go. If you choose a foreign country, you need to thoroughly research it to get the feel for how the people think, operate, dress, speak, and mo...

We have developed forty conflict ideas and layered the first half of the story. Let’s finish the process. We left off at turning point 2. Now the hero must come up with the correct solution to the problem, the one he resisted at first: blow the meteor up. Internal Conflict 6 : Dick finds Sally packing her bags.      Dick says, "Don’t leave. I love you. I’ve always loved you."       She replies, "Then why are you ruining things?"             Should he tell? Is it better for her to know or not know that their days are numbered? Antagonist 7 : Dick confronts Ted.       "You had something to do with this."      "You’ll never prove it and in a few days it won’t matter anyway." External 7 : They are back to the drawing board - all seems lost. They enter countdown mode.  Internal Conflict 7 : Sally tells Dick that she received a call from Ted and that h...

We've discussed external conflict scenes and antagonist conflict scenes. The third layer explores interpersonal conflicts which test the protagonist’s friendships, loyalties, and will to continue. Your verbal camera is focused on stage left. Interpersonal conflict scenes can involve the friends and foes interacting with the protagonist, love interest, antagonist, or each other. Friends and foes can be used in any combination of scenes that fit with your story line. There will be both positive and negative interchanges with these characters. This layer addresses subplots and side stories which should culminate before the climax, with everyone lined up and revealed to be on which side of the fight. Subplots should circle back to and intersect the external story problem. If they don’t, you should consider cutting them. Secondary characters should have an agenda and stakes. Their personal goals may be at odds with the protagonist’s or  antagonist’s goal. Their situ...