21 Ways to Embellish Your Scenes

Welcome back to the blog. Our second Monday of the month guest post is late because I was sick last week. By the time I felt well enough to do anything online it made more sense to post it for today. Today we have Cyndi Faria on the blog talking about scenes!

Here’s Cyndi!

As always, I’m excited to guest blog for Guelph Write Now. I’d like to thank Cindy Carroll for having me. Last month, I participated in a writing challenge called National Novel Writing Month (NaNoWriMo). The object of the challenge was to write a 50k novel. With that complete, the month of December is titled National Novel Editing Month (NaNoEdMo), and I’m editing my heart out.

Sometimes, however, I need help making sure my scenes have certain elements. By creating a check list, I can embellish each scene until it sparkles!

Lucky for you, I love to share my writing craft tips. Next time you’re editing, make sure you include in each scene a good sampling of the bullet point items below. Then watch your scene shine!

  1. Touch
  2. Taste
  3. Sight
  4. Smell
  5. Hearing
  6. Temperature
  7. Pain
  8. Balance
  9. Motion
  10. Acceleration
  11. Time
  12. Direction
  13. Breathing
  14. Heart Rate
  15. Vasodilatation (flushing and blushing)
  16. Intestinal Distress
  17. Swallowing
  18. Ethics
  19. Humor (funny or sarcastic)
  20. Style
  21. Mannerisms.

To download a PDF of the Scene Embellishment List (shown below), click here.

Scene Embellishment

Cindy here again!

Great tips, Cyndi. I love that checklist. It’s great to have handy when you’re doing revisions.

Happy writing!

Cindy

Take a book from good to sold in 10 steps – with Shirley Jump

It’s finally Friday! Today we have a great post from New York Times Bestselling author Shirley Jump on taking your book from “good” to sold!

Here’s Shirley!

The Sweetheart Bargain coverThank you for having me on the blog! I wrote ten books in 8 years before I finally sold. I had a long, frustrating journey, because it was like I was missing something small—turns out it was a few small things 😉 What takes a book from just “good” to sold? Ah, that’s the magic answer everyone wants! In my opinion, it’s all those things that new writers see as intangible — tight, strong writing, a well-developed plot and strong, living characters. If you’re like me, you saw many of those words in your rejection letters and puzzled over them, trying to figure out exactly how you were supposed to make your writing stronger or how to make those characters come alive.

It can be done. My January 2003 release, THE VIRGIN’S PROPOSAL, was a contest winner and finalist (I won the TARA contest in 2000) but I just couldn’t sell it. I revised it a couple of times, sent it off to Silhouette, and was lucky enough to get a detailed revision letter from Mary Theresa Hussey. She had a lot of issues with the plot and wanted me to dump and rewrite about 2/3s of the book.

I knew this was my golden opportunity; the kind of chance all writers dream of. I had an interested editor, it was up to me to either rise to the challenge or choke at the starting gate. Besides looking at the plot issues, I took a serious look at the book itself, comparing it to the books I admired. On every page, I asked myself “How can I make this better?” And once I improved that page, I’d go back and improve it again. It’s possible to take a book from Good Enough to Win a Contest to Wonderful Enough to Sell – here’s how I did it.

That book sold, went on to win the Booksellers Best contest, and is the first of 50 books for me. My latest, THE SWEETHEART BARGAIN, came out September 3 with Berkley, part of a brand new series that I sold last year by using these same techniques.

 

 

TAKE A BOOK FROM GOOD TO SOLD IN 10 STEPS

By Shirley Jump

 

What makes a book SOLD instead of simply good enough to win contests? Several factors, I discovered when I took two previous manuscripts that had done well in contests and later revamped them to make them sell. It’s about taking the book one step further and making them not just winning, but salable:

 

  1. Make sure every Scene has a Goal and a Sequel. Does your main character in each scene have something he/she wants to accomplish during the course of the scene? If you have a scene that just seems to be sitting there, with no real purpose, then nine times out of ten, the lack of a goal is the problem. Each of the scene goals should feed into the main book goal, and should raise the stakes and the tension. The minute you lose your tension, you’re at the end of your book, because the characters have achieved their goals.

 

  1. Make sure your plot hangs together. This usually requires one read through to look for any potential holes in your plot, any questions left unanswered, etc. Be sure to make notes as you go along, rather than trusting your memory. Often, it’s a dangling plot that keeps a book from being unique enough.

 

  1. Did you make the most of your voice? Voice is that indefinable thing that really sets you apart from another writer. Structurally, you might have a fabulous book but if you haven’t given it your own unique flavor — the stamp that makes that book YOURS and yours alone — it won’t stand out among the others on the editor’s desk.

 

  1. Conflict, Conflict, Conflict: Don’t be afraid to throw more and more roadblocks into your characters’ paths. As authors, we’re often too nice to our characters and don’t give them enough hardships. Hardship fosters change which in turn creates character growth. Also, characters who solve their internal and external obstacles too early end the book too soon. Be sure there is some “but” still getting in the character’s way, forcing them to continue on their emotional (and physical, if you have one) journey before you get to the final concluding scene.

 

  1. Motivation, Motivation, Motivation: Do your characters have reasons for everything they do? And do those motivations come from the character’s character — i.e., what makes him/her uniquely themselves — rather than some contrivance on your part? Character actions should grow out of character experience, self concept and wants or needs.

 

  1. Look at your balance of narrative and dialogue. Do you have too much of one or the other? Too little in one area? Do you have long passages between spurts of conversation, which make for unnatural pauses? It really helps to read aloud at this point to make sure the dialogue holds together naturally. If necessary, act it out to really see the places where your narrative is too long.

 

  1. Speaking of dialogue — make sure every bit is necessary. Dialogue is a plot tool. It’s used to further the plot and show character, rather than just sitting there, filling up space.

 

  1. Check the obvious. Did you look at all the spelling and grammar errors? Fix the dangling participles and split infinitives? Remove all the extra “thats” and “justs”? Take out as much passive writing as possible? Try to show instead of tell?

 

  1. Tighten. And tighten again. Once you’ve gone through the manuscript for all of the above reasons, go through it again for tightening. Can you use one word instead of five and get the same impact? Can you reword passages with stronger verbs and adjectives, delivering more punch in every sentence?

 

  1. Can you use more unique phrases to express the same thing? Too often, writers relay on clichés for their descriptions instead of striving for something more unique. This is that indefinable aspect that editors are looking for — a strong book written by an author with his/her own distinctive style. To achieve that, you have to write better than those who have gone before you. Be stronger, be more precise. Try harder. That means coming up with several versions of a turn of phrase or striving to go beyond the stereotype. Don’t settle for what’s easy and predictable. Take it to the next level and you’ll soon be hearing your career go to the next level of…

 

SOLD!

ShirleyJumpNew York Times and USA Today bestselling author Shirley Jump has written more than 50 novels for Berkley, Harlequin, Entangled and Kensington books. She has won numerous awards, including the HOLT Medallion, the Booksellers Best Award and Colorado Romance Writers Award of Excellence. She’s been nominated multiple times for the Romantic Times Reviewer’s Choice award, most recently for THE RETURN OF BRODY MCKENNA, the last book in her McKenna Brothers series for Harlequin. The first book in her upcoming series with Berkley, THE SWEETHEART BARGAIN, has received a multitude of pre-publication praise from authors such as Jayne Ann Krentz, who called the book “real romance,” Virginia Kantra, who said, “Shirley Jump packs lots of sweet and plenty of heat in this heartwarming first book of her promising new series,” and Jill Shalvis, who called it “a fun, heartwarming small town romance that you’ll fall in love with.”

Visit her website at www.shirleyjump.com

Cindy here again!

Wow, great information Shirley. Thanks so much for being here! I need to keep this list handy when I do revisions.

Happy writing.

 

Cindy

Just One More Time

We’ve got an important post here on the GWN blog. Author Terry Shames talks about a great way to edit your novels.

Here’s Terry!

The last time I went through my most recent manuscript, I reported to my editor that I had found 25 last, tiny errors. There was a moment of silence on the other end of the phone, and then, “You mean before you sent it to the copyeditor?” No, after.

“But…” He wanted to know how the copyeditor had missed 25 errors that included missing quotation marks, misspellings, missing words and one quotation mark at the end of a sentence that wasn’t a quote. I hadn’t meant to get the copyeditor in trouble. What I meant was to tell him about a technique I discovered for ferreting out those last, pesky errors.

An experienced writer with many novels under his belt once told me that when my first novel came out, I’d open it and the first page I looked at would contain an error. I couldn’t argue with him because too often these days within a few pages of beginning a novel I run across errors, usually small ones; but sometimes glaring, impossibly bumbling errors that make me want to have a stern talk with whomever was given the task of ridding the manuscript of those glitches.

That’s the problem, though. Even the biggest publishers, and the most meticulous small ones have systematically ditched their editing staffs out of economic necessity. Content editors barely have time to help an author shape the manuscript, and it’s up to a harried copy editor and/ or proofreader to file off the rough edges and make the final product look professional.

Pulling hair out

That’s why an author is well advised to turn in the most pristine copy she can manage. Easier said than done. By the time you’ve read your 300-page manuscript what seems like 100 times for action or dialogue that doesn’t make sense, timeline errors, name switches; and then gone through it to correct what seems like endless typos, dropped or added punctuation, to have one more go at that paragraph that has never rung true, one more attempt to tweak that imperfect description, you’re sick to death of it. You’ve even read it aloud, and hated the sound of your voice by the time you reach the last chapter.

The mere thought of having to read through it one more time makes you have fantasies of calling the whole publication thing off and running off to join the circus. At that point you are ready to clean out your bank account to pay any amount of money for a professional to hunt down those last errors rather than having to do it yourself.

EV005170

That’s when you need to read it backwards. Yep. Backwards. I thought I had heard of every trick and then somewhere (I wish I knew where, so I could thank this unsung hero), I read that reading the manuscript backward is like a miracle. You read the last page, and then the page before that, etc., through the whole shebang. Oh, yeah, and you do it out loud.

The first time I did it, I felt like an idiot. I was sure I had caught Every Single Error the last time I went through the manuscript. There couldn’t be anymore. But the article about reading backwards said that I’d be surprised how many errors I caught. So I decided I had nothing to lose. At least I wouldn’t have to read it forwards again. And who knew? I might even catch a couple of things. 100 errors later I was a convert. Not only did I catch a lot of errors, but I caught a couple of places where I used a word too many times in one paragraph, and could take care of that before the public had to see it, too!

Happy editing, everyone!

Book Description:

Killing at Cotton Hill-3In A KILLING AT COTTON HILL the chief of police of Jarrett Creek, Texas, doubles as the town drunk. So when Dora Lee Parjeter is murdered, her old friend and former police chief Samuel Craddock steps in to investigate. He discovers that a lot of people may have wanted Dora Lee dead—the conniving rascals on a neighboring farm, her estranged daughter and her surly live-in grandson. And then there’s the stranger Dora Lee claimed was spying on her. During the course of the investigation the human foibles of the small-town residents—their pettiness and generosity, their secret vices and true virtues—are revealed.

 

 

Bio:

Larger readingTerry Shames grew up in Texas. She has abiding affection for the small town where here grandparents lived, the model for the fictional town of Jarrett Creek. A resident of Berkeley, California, Terry lives with her husband, two rowdy terriers and a semi-tolerant cat. She is a member of Sisters in Crime and Mystery Writers of America. Her second Samuel Craddock novel, THE LAST DEATH OF JACK HARBIN will be out in January 2014. Find out more about Terry and her books at www.Terryshames.com.

Cindy here again!

Great post, Terry! It’s a great idea to read it backwards! I’ll try that next time I’m revising my story.

Happy writing!

 

Cindy

Follow Us!

Subscribe via RSS

Categories

This site uses cookies. Find out more about this site’s cookies.