Well, what is it? Telling is when you, the narrator of your story, butt in and explain the action, when it's your characters who should be showing us what's happening. Ideally, you should have a minimal presence in your fiction, even though you're the one in charge of the story. You can do this and still maintain voice. The key is to let your characters drive the action. You get to be the one pulling the puppet strings behind the scenes.
Some of the key culprits of telling are was, felt, looked, and seemed. There are more, but once you learn the difference, you'll be able to spot telling vs. showing. Some examples are:
She was beautiful.
The blanket felt coarse.
He looked like a god.
She seemed angry.
These are examples of you telling us what we should be feeling as readers. Notice that your characters haven't had a single hand in the action in any of these sentences. Here are the modified, showing versions:
Men drooled whenever she walked by. (Here we can see she's beautiful by others' reactions.)
The blanket scratched her fingers. (The blanket gets a piece of the action here. Objects can act, too!)
Her breath caught in her throat when she saw him. (Again, a character's reaction tells us he's gorgeous.)
Her eyes glittered like icy daggers. (Boy, she's mad, ain't she?)
Telling is a form of passive voice. It doesn't let us dive right into your story and experience it firsthand. When you show us, you're letting your characters play the story out for us. This gets us into your characters' heads through their reactions and emotions. It would be impossible to write an entire book without using a single bit of telling, but if you keep it to a minimum, your work will be so much stronger.
Next up: Misplaced Modifiers
Showing posts sorted by relevance for query telling. Sort by date Show all posts
Showing posts sorted by relevance for query telling. Sort by date Show all posts
Thursday, July 06, 2006
Monday, August 19, 2013
Crash POV: It Ain't Show And Tell, Folks
Telling and Point of View
Some time ago, I wrote a post on Telling vs. Showing in your writing. It still amazes me that this is even an issue in writing, and yet, I have bought published books from new authors where "telling" is rampant (never mind that it got past an editor that way) and shouldn't be. An instance here and there throughout a non-first-person work is unavoidable and (sometimes, for artistic reasons) necessary. You may want to distance your reader for a moment, for a few reasons. But not - please, Lord - for the entire length of a manuscript that is not written in first-person POV (Point of View). A novel, especially a romance, with telling filling each of its pages does its reader no favors. Readers of romance love the genre because it puts us in the heads of the characters and, as they fall in love, we fall in love.
The reason for this is that, in a well-written book, we readers are the characters. A masterful writer will cut away all the barriers that prevent us from actively taking part in a character's adventures. Instead of telling us "She was kissing him," - there's that WAS - "She kissed him." That 'was' is gone entirely. Sometimes, it's as simple as that. It's taking away that last barrier - you, observing the action and reporting it to your reader - and instead, just letting the character DO the thing, and letting your reader see it for herself.
Deep POV is a difficult concept for new writers. There are levels of closeness between a reader and a character in a novel. I'll get into that in my next post or two. It's an important skill for a writer, and well worth knowing its nuances. I've seen otherwise terrific books fall short of their potential because of "shallow POV." So, coming up in my next blog, I'll try to illustrate the difference to you writers out there, looking to brush up your know-how.
Tuesday, September 17, 2013
Crash POV: Medium Point Of View
As promised, today I'll continue my talks on POV, or Point Of View, in your writing. Last time, we talked about shallow POV, the most distant aspect of point of view. Generally, this is not desirable, since it distances your character from her reader. Your reader wants to be a part of the action - involved in the character's struggles. It's hard to do that when you're telling the reader what she should be sensing about the character, instead of letting the character act it out for her, and letting your reader discover the character's feelings on her own through what's happening.
Remember our scene with John at the river? I recommend re-reading it, and then turning back to this entry to read its edited version. We'll now rewrite it with a medium, or middle, point of view - a bit farther into the character's head this time.
Acting is the key to medium or middle POV. Your characters will tell the story, if you let them, by allowing them to act out the scenes for themselves. Readers are smart - smarter than you think - and they will discern what's happening and how a character is feeling by what he does. Your job is to present that character's actions in such a way that it's clear how he feels. You need to be able to let go of the reins, and let the character do the driving.
Next time, I'll re-write this scene again using deep POV, and you'll see the sharp contrast!
Remember our scene with John at the river? I recommend re-reading it, and then turning back to this entry to read its edited version. We'll now rewrite it with a medium, or middle, point of view - a bit farther into the character's head this time.
John paced along the riverbank, checking his watch. He retreated out of the hot sun, into the shady patch of grass where he'd laid a picnic lunch...for which Mary hadn't arrived. He swore right then to himself, he wouldn't give her any more second chances. Sighing, he watched the ice shifting and melting in its glass tea jar.You can see right away that this scene has none of those keywords of telling - was, looked, felt, or seemed. Character, setting, and conflict are still there, but now we have some color. That's because I chose to let John show you how impatient and disappointed he is, rather than just telling you so. He's pacing and checking the time, which we all do when we are impatient. He's interacting with the environment, showing you where he is and what's there. I am not telling the story. John is.
Acting is the key to medium or middle POV. Your characters will tell the story, if you let them, by allowing them to act out the scenes for themselves. Readers are smart - smarter than you think - and they will discern what's happening and how a character is feeling by what he does. Your job is to present that character's actions in such a way that it's clear how he feels. You need to be able to let go of the reins, and let the character do the driving.
Next time, I'll re-write this scene again using deep POV, and you'll see the sharp contrast!
Thursday, September 05, 2013
Crash POV: Shallow Point Of View
Today I'm going to talk about Point Of View, or POV, in your writing. Point Of View is, in a nutshell, who is telling the story. Romances are usually told from the hero/heroine's point of view, and POV can change from scene to scene. In this way, your reader gets a taste of how it feels to be that hero or heroine, experiencing the events of the story. The "depth" of POV in your writing is affected largely by your use of "Telling" vs. "Showing". (For the refresher on Telling vs. Showing, click here.)
As I've mentioned before, there are levels of POV in writing, and you may choose among them for the best punch in your story. In romance, a deeper POV is preferable. The more you bring a reader "inside" a character's head, the more emotionally invested he or she will be in the story. Remember that even while we prefer deeper POV in romance, it can get emotionally exhausting, so it can and should be varied - but definitely use it in your most critical scenes (first kisses, love scenes, black moments, etc.). Below is a picture that will provide the setting for a short example of shallow POV in writing.
As you can see, all the information is there: character, setting, and conflict. Unfortunately, the reader is on the outside looking in. We are told of John's frustrations, but it's not the same as empathizing with him. There is no "punch" in this writing, because of its emotional distance. Fixing this is a matter of your wording. Next time, we'll try this scene again, with a medium POV.
As I've mentioned before, there are levels of POV in writing, and you may choose among them for the best punch in your story. In romance, a deeper POV is preferable. The more you bring a reader "inside" a character's head, the more emotionally invested he or she will be in the story. Remember that even while we prefer deeper POV in romance, it can get emotionally exhausting, so it can and should be varied - but definitely use it in your most critical scenes (first kisses, love scenes, black moments, etc.). Below is a picture that will provide the setting for a short example of shallow POV in writing.
John was getting impatient. The wind was warm and rippled softly over the river, but it was still cool in the shady spots under the tree. Mary had stood him up for their picnic. He hated that he'd given her a last-chance date. Every time he'd booked reservations at a nice restaurant, she'd pulled a no-show. He wondered why he kept trying with her. At least sandwiches didn't cost much.
As you can see, all the information is there: character, setting, and conflict. Unfortunately, the reader is on the outside looking in. We are told of John's frustrations, but it's not the same as empathizing with him. There is no "punch" in this writing, because of its emotional distance. Fixing this is a matter of your wording. Next time, we'll try this scene again, with a medium POV.
Wednesday, July 19, 2006
Writing A Synopsis
A synopsis is probably the only place you can get away with telling. It's a summary of the major events of your book, written in present tense (except for any necessary bits of backstory), and as if you are telling us the story. There are many fine examples of synopses out there on the Internet, so I won't waste time illustrating one here. We'll just cover the important points.
A synopsis helps your agent/editor determine whether he or she is interested in seeing more of your work. The format for a synopsis is the same as that for your manuscript, unless otherwise indicated by the agent or editor requesting your work. The only exception is that you would put "STORY TITLE / Your Name / Synopsis" in the header, and the page numbers on the right as usual.
The most important part of a synopsis is the hook, or the opening line, which should be an attention-grabber. If you can't grab the agent/editor's attention at Page One, she may not finish reading it, no matter how exciting you think Page Eight is, if she'd just read a little further. Keep the synopsis streamlined and engaging, and especially proofread it. Even though it's a summary of your story, it's still an example of how well you write. Pacing is just as important, if not more so, in a synopsis as it is in your manuscript. The agent or editor is looking for a well-told book that flows smoothly, without contrived events. Don't muddy up your pacing with minor events. We're looking for major turning points. In romance, we also want to see internal and external conflict, sexual or romantic tension between your hero/heroine, the black moment, and a happy ending. (More on those things in later blog entries.) You don't need dialogue in a synopsis - save it for your manuscript. Remember, this is the one case where you are telling the story, and your characters aren't.
A synopsis is a selling tool. While it should never sensationalize your work (think of those obnoxious commercials with shouting vendors and colored text flashing across the T.V. screen), it should market your story in its best possible light. Think of the most engaging personality traits of your characters, and the unexpected twists and turns in your plot. Make sure you include those.
I usually write a one-page, a five-page, and a ten-page version of each manuscript's synopsis. This makes it much easier, come submission time, when different agents and editors request different-length synopses. Some are just looking for how well you tell a story, and whether its plot might be of mass interest. Others want to know more detail. Let a critique partner read through your synopsis. Sometimes, she'll pick out a minor plot point that doesn't need to be there, or a major one that you've left out. Because she's impartial (compared to you), she might even help you find a more interesting way to sum up your story's events. The more engaging your synopsis, the better chance you'll have of getting your manuscript read. And that's one step closer to publication.
A synopsis helps your agent/editor determine whether he or she is interested in seeing more of your work. The format for a synopsis is the same as that for your manuscript, unless otherwise indicated by the agent or editor requesting your work. The only exception is that you would put "STORY TITLE / Your Name / Synopsis" in the header, and the page numbers on the right as usual.
The most important part of a synopsis is the hook, or the opening line, which should be an attention-grabber. If you can't grab the agent/editor's attention at Page One, she may not finish reading it, no matter how exciting you think Page Eight is, if she'd just read a little further. Keep the synopsis streamlined and engaging, and especially proofread it. Even though it's a summary of your story, it's still an example of how well you write. Pacing is just as important, if not more so, in a synopsis as it is in your manuscript. The agent or editor is looking for a well-told book that flows smoothly, without contrived events. Don't muddy up your pacing with minor events. We're looking for major turning points. In romance, we also want to see internal and external conflict, sexual or romantic tension between your hero/heroine, the black moment, and a happy ending. (More on those things in later blog entries.) You don't need dialogue in a synopsis - save it for your manuscript. Remember, this is the one case where you are telling the story, and your characters aren't.
A synopsis is a selling tool. While it should never sensationalize your work (think of those obnoxious commercials with shouting vendors and colored text flashing across the T.V. screen), it should market your story in its best possible light. Think of the most engaging personality traits of your characters, and the unexpected twists and turns in your plot. Make sure you include those.
I usually write a one-page, a five-page, and a ten-page version of each manuscript's synopsis. This makes it much easier, come submission time, when different agents and editors request different-length synopses. Some are just looking for how well you tell a story, and whether its plot might be of mass interest. Others want to know more detail. Let a critique partner read through your synopsis. Sometimes, she'll pick out a minor plot point that doesn't need to be there, or a major one that you've left out. Because she's impartial (compared to you), she might even help you find a more interesting way to sum up your story's events. The more engaging your synopsis, the better chance you'll have of getting your manuscript read. And that's one step closer to publication.
Sunday, January 07, 2018
The Power of Yes
It's often said that to be a "yes man" is a negative thing. This is a person who responds with an unqualified yes to everything you say, no matter how outlandish or incorrect (see sycophant). People say it's healthy to have a certain amount of argument and opposition.
It's true that blind agreement with an opinion is unwise. However, I feel that a certain amount of affirmation toward others is a good thing. In a world of divisiveness and negative press, it can mean a lot to have someone respond to you in a positive way. Don't get me wrong; I don't mean that you should agree with everything others say, but it's not a bad thing to seek and respond to the positive in another person's viewpoint (or at least acknowledge it if you can find common ground). Rather than respond with a knee-jerk need to point out the "wrong" in another person's statement, which promotes the feeling of social difference, try responding to comments where you might share some commonality.
This goes for more than those comments on social media, and more importantly, it affects how you see yourself. Telling yourself "yes" can have a wonderful effect on your self-image and overall mood. Learning to respond to life in the positive promotes a can-do attitude. You're not ignoring the difficulties. There are no rose-colored glasses. There is just an attitude of willingness to try, to see the possible benefits (not only in connection with others, but in your own abilities, when that "yes" is self-directed).
It's hard enough to get by these days when everyone is telling you no. Think how much you could do, and how much we could do together, if you start saying yes!
Monday, September 23, 2013
Book News: FLASHPOINT Under Contract!
My editor got back to me this morning with the news that FLASHPOINT, Book Two in the Gifted Series, has been given a contract! The book will most likely be out next year, but for now, I'll leave you with an excerpt:
Excerpt from FLASHPOINT:
Hakon stared after Faith, wondering what was wrong. The woman switched gears fast enough to make his head spin. He locked his vehicle, and then stalked down the trail after her.
She strode ahead of him, dodging ruts and potholes. Her hips swayed with each step in a compelling rhythm. In spite of himself, he imagined drawing her back against him, kissing that spot behind her ear where tendrils of golden hair had fallen loose ....
She stopped dead, and turned around with wide eyes. Had he said something out loud? He thought he'd seen something flash in her eyes a moment ago. There it was again, though before, he could have sworn her eyes had been silver -
"Aren't you supposed to be in front of me?" she asked.
Desire and doubt vanished. Nettled, he stepped around her, and went on without pausing. "Next time, let me break the trail first. Clear?"
"Get up on the wrong side of the bed?"
He didn't bother telling her he hadn't slept at all on his last night in a comfortable bed. Her presence had echoed through the walls of the inn like a resonating bell, one moment consuming him with the need to go to her, and the next, driving him away in a fit of resentment.
She was money. His ticket to freedom, nothing more. She was here, and so was he, and like it or not, they'd entered into an agreement. He'd guide her to a few ancient rock paintings, and she'd pay up when they returned to civilization. The faster they finished, the better.
Maybe if he kept telling himself that, he might start to believe it.
Saturday, July 26, 2014
Flashpoint Book Trailer Released!
I'm excited to present to the trailer for FLASHPOINT, Book Two in the Gifted Series!
FLASHPOINT's release date was announced earlier this week as October 1st. Here's a peek at the book's details:
BLURB from FLASHPOINT:
Faith Markham knows her place in life—paranormal expert and world-traveling archaeologist. She also knows she'll never fall in love again. How can she, when the only man she's ever wanted is a long-dead Viking warrior? She has resigned herself to loneliness, but fate has other ideas.
Hakon Ivarsson has had enough of women. His ex-wife left his life in ruins, and only Australia's Blue Mountains can soothe his empty soul. When Faith shows up needing a trail guide, he regards her with instant suspicion. This enigmatic beauty pulls at him in ways he can't explain. Trusting her is out of the question, but protecting her is absolute.
When they stumble on an artifact-smuggling ring, led by a man poised to bend the world's paranormal power to his own terrible purposes, they must join forces. Will it tear them apart, or has fate finally delivered a second chance?
Excerpt from FLASHPOINT:
Just who was guiding who?
Hakon growled and pulled his own backpack from the Land Rover, locked the vehicle, then stalked down the trail after her.
It took him all of two seconds to decide he should have been the one walking in front. Faith strode ahead of him, dodging ruts and potholes with sure feet. Her hips swayed with each step in a compelling rhythm that drove his body into a riot. He imagined drawing her back against him, kissing that spot behind her ear where tendrils of golden hair had fallen loose....
She stopped dead and turned around with wide eyes. Damn, had he said something out loud? He thought he'd seen a flash in her eyes just before they saw the truck. There it was again, though before, he could have sworn her eyes had been silver...
"Aren't you supposed to be in front of me?" she asked.
Desire and doubt vanished. "I would have been, if you hadn't bolted off in the first place." He stepped around her and went on without pausing. "Next time, let me go first. Clear?"
"Get up on the wrong side of the bed?"
He didn't bother telling her he hadn't slept at all. Her presence had echoed through the walls of the inn like a resonating bell, one moment consuming him with the need to go to her, and the next, driving him away in a fit of resentment.
She was money. His ticket to freedom, nothing more.
Maybe if he kept telling himself that, he might start to believe it.
FLASHPOINT's release date was announced earlier this week as October 1st. Here's a peek at the book's details:
BLURB from FLASHPOINT:
Faith Markham knows her place in life—paranormal expert and world-traveling archaeologist. She also knows she'll never fall in love again. How can she, when the only man she's ever wanted is a long-dead Viking warrior? She has resigned herself to loneliness, but fate has other ideas.
Hakon Ivarsson has had enough of women. His ex-wife left his life in ruins, and only Australia's Blue Mountains can soothe his empty soul. When Faith shows up needing a trail guide, he regards her with instant suspicion. This enigmatic beauty pulls at him in ways he can't explain. Trusting her is out of the question, but protecting her is absolute.
When they stumble on an artifact-smuggling ring, led by a man poised to bend the world's paranormal power to his own terrible purposes, they must join forces. Will it tear them apart, or has fate finally delivered a second chance?
Excerpt from FLASHPOINT:
Just who was guiding who?
Hakon growled and pulled his own backpack from the Land Rover, locked the vehicle, then stalked down the trail after her.
It took him all of two seconds to decide he should have been the one walking in front. Faith strode ahead of him, dodging ruts and potholes with sure feet. Her hips swayed with each step in a compelling rhythm that drove his body into a riot. He imagined drawing her back against him, kissing that spot behind her ear where tendrils of golden hair had fallen loose....
She stopped dead and turned around with wide eyes. Damn, had he said something out loud? He thought he'd seen a flash in her eyes just before they saw the truck. There it was again, though before, he could have sworn her eyes had been silver...
"Aren't you supposed to be in front of me?" she asked.
Desire and doubt vanished. "I would have been, if you hadn't bolted off in the first place." He stepped around her and went on without pausing. "Next time, let me go first. Clear?"
"Get up on the wrong side of the bed?"
He didn't bother telling her he hadn't slept at all. Her presence had echoed through the walls of the inn like a resonating bell, one moment consuming him with the need to go to her, and the next, driving him away in a fit of resentment.
She was money. His ticket to freedom, nothing more.
Maybe if he kept telling himself that, he might start to believe it.
Saturday, March 23, 2013
FLASHPOINT Submitted to The Wild Rose Press!
Over the past week, I've been working on some final revisions of FLASHPOINT, the sequel to THE SERPENT IN THE STONE. It's finished, and I've now submitted it to my editor at The Wild Rose Press. Yay!
FLASHPOINT follows the story of Faith Markham, who has it all - almost: beauty, paranormal power, and the job of her dreams as an archaeologist. The one thing eluding her is a love that will transcend time. Too bad that when she meets Hakon Ivarsson, the modern-day incarnation of her one true love, he has no plans to let another woman tie him down.
Here's a little taste of the story for you:
Excerpt from FLASHPOINT
(The Gifted Series: Book Two)
Coming soon
Hakon stared after Faith, wondering what was wrong. The woman switched gears fast enough to make his head spin. He locked his vehicle, and then stalked down the trail after her.
She strode ahead of him, dodging ruts and potholes. Her hips swayed with each step in a compelling rhythm. In spite of himself, he imagined drawing her back against him, kissing that spot behind her ear where tendrils of golden hair had fallen loose ....
She stopped dead, and turned around with wide eyes. Had he said something out loud? He thought he'd seen something flash in her eyes a moment ago. There it was again, though before, he could have sworn her eyes had been silver -
"Aren't you supposed to be in front of me?" she asked.
Desire and doubt vanished. Nettled, he stepped around her, and went on without pausing. "Next time, let me break the trail first. Clear?"
"Get up on the wrong side of the bed?"
He didn't bother telling her he hadn't slept at all on his last night in a comfortable bed. Her presence had echoed through the walls of the inn like a resonating bell, one moment consuming him with the need to go to her, and the next, driving him away in a fit of resentment.
She was money. His ticket to freedom, nothing more. She was here, and so was he, and like it or not, they'd entered into an agreement. He'd guide her to a few ancient rock paintings, and she'd pay up when they returned to civilization. The faster they finished, the better.
Maybe if he kept telling himself that, he might start to believe it.
FLASHPOINT follows the story of Faith Markham, who has it all - almost: beauty, paranormal power, and the job of her dreams as an archaeologist. The one thing eluding her is a love that will transcend time. Too bad that when she meets Hakon Ivarsson, the modern-day incarnation of her one true love, he has no plans to let another woman tie him down.
Here's a little taste of the story for you:
Excerpt from FLASHPOINT
(The Gifted Series: Book Two)
Coming soon
Hakon stared after Faith, wondering what was wrong. The woman switched gears fast enough to make his head spin. He locked his vehicle, and then stalked down the trail after her.
She strode ahead of him, dodging ruts and potholes. Her hips swayed with each step in a compelling rhythm. In spite of himself, he imagined drawing her back against him, kissing that spot behind her ear where tendrils of golden hair had fallen loose ....
She stopped dead, and turned around with wide eyes. Had he said something out loud? He thought he'd seen something flash in her eyes a moment ago. There it was again, though before, he could have sworn her eyes had been silver -
"Aren't you supposed to be in front of me?" she asked.
Desire and doubt vanished. Nettled, he stepped around her, and went on without pausing. "Next time, let me break the trail first. Clear?"
"Get up on the wrong side of the bed?"
He didn't bother telling her he hadn't slept at all on his last night in a comfortable bed. Her presence had echoed through the walls of the inn like a resonating bell, one moment consuming him with the need to go to her, and the next, driving him away in a fit of resentment.
She was money. His ticket to freedom, nothing more. She was here, and so was he, and like it or not, they'd entered into an agreement. He'd guide her to a few ancient rock paintings, and she'd pay up when they returned to civilization. The faster they finished, the better.
Maybe if he kept telling himself that, he might start to believe it.
Monday, January 02, 2012
Baby New Year (Taking Her First Steps)
Well, it's that time of year when we start thinking resolutions! The key to keeping your resolutions is, of course, making them attainable ... by making them look attainable. Break that big task into smaller chunks. For example:
If you're a writer, and writing that whole book seems daunting, piece it off. Instead of "I will write a 100,000-word book and submit it to a publisher," you may want to try telling yourself "I will write two pages a day. By December 31, I will submit its first three chapters to a publisher." (And remember that any writing counts, even if it's a rough first draft. You can go back and edit what you wrote, but not if you have written nothing!)
Even if you've decided not to make a resolution, I hope you're looking forward to a bright, happy, and productive New Year. Cheers!
If you're a writer, and writing that whole book seems daunting, piece it off. Instead of "I will write a 100,000-word book and submit it to a publisher," you may want to try telling yourself "I will write two pages a day. By December 31, I will submit its first three chapters to a publisher." (And remember that any writing counts, even if it's a rough first draft. You can go back and edit what you wrote, but not if you have written nothing!)
Even if you've decided not to make a resolution, I hope you're looking forward to a bright, happy, and productive New Year. Cheers!
Wednesday, February 11, 2015
Guest Author: MJ Compton!
Today I welcome romance author MJ Compton to the blog to talk about her latest book, AND JERICHO BURNED!
1) How did you get started writing?
I don't remember a time when I wasn't telling myself stories. I have memories going back to when I was two, maybe younger, lying in bed and tracing the cowboys on the wallpaper with my finger and making things up about them. The physical writing came when I learned to read.
2) What interests or excites you most about your genre(s)?
I love an alpha male hero and the hierarchy of a wolf pack is basic as you can get. A werewolf can get away with outrageous behavior that would make another type of hero look like an unredeemable jerk. And the only kind of heroine who can stand up to that strong of a male is someone who's pretty kick-butt herself. The clashing of two strong wills makes for great conflict and incredible passion.
3) Who or what is your favorite inspiration when writing?
Each book I've ever written has its own musical sound track. I spend a lot of time creating different versions until it's perfect. I listen to my custom CDs in the car; I listen to the mix on my mp3 player at Day Job. The songs help keep me in the story, even when I can't be at the keyboard.
4): Tell me about your latest book.
And Jericho Burned went on sale today. It's the second book in my Toke Lobo & the Pack werewolf romantic suspense series. Lucy is trying to rescue her sister from a religious cult; Stoker is on an undercover task force trying to bust a paramilitary domestic terrorist organization. Turns out they are both after the same group.
5) Please share with us the first paragraph of your latest work.
Here's the opening paragraph of And Jericho Burned:
Summoned as if she were a disobedient child, Lucy Callahan stood with her sister before her crazy brother-in-law, her hands, teeth, and stomach muscles clenched. She tried to focus on her irritation with Michelle instead of the wariness Randy inspired.
Thanks for visiting with us today, MJ! To learn more about MJ or AND JERICHO BURNED, check out the following links below:
Buy AND JERICHO BURNED: http://tinyurl.com/ml9wzc4
Website and Blog: http://www.comptonplations.com
Twitter: https://twitter.com/Comptonplations
Facebook: https://www.facebook.com/AuthorMJCompton
Tsu: http://www.tsu.co/mj_compton
Goodreads: https://www.goodreads.com/author/show/8075221.M_J_Compton
Amazon Author Page: http://www.amazon.com/MJ-Compton/e/B00J9DFFIG/ref=ntt_athr_dp_pel_1
Wednesday, September 03, 2008
Bitten!
OK, I may write paranormal, and I may love Buffy and Angel (it's the writing - Joss Whedon is my hero for adding conflict to a storyline) ... but honest, I'm not a vampire girl. Or I wasn't.
Then I met Edward.
Ha. Stephenie Meyer's Twilight saga is so darn good, I'm staying up way past my bedtime (like 1:00 AM, and I have to get up at 5:00) to read. It takes Edward, like, 43 pages to even say hello to the girl in the first book. And the minute he opened his mouth, I went "Eeek! I love him!" How's that for building up your romantic tension?!? I have to be honest and say there's more "telling," adverb use, rolling eyes, looks, and repeated phrases than I think we could get away with in the adult romance genre - but obviously Stephenie knows what she's doing, since all four books have topped the bestseller list. Topped, like, Number One.
That's gotta be Edward's fault. Really, pick up the first book (aptly titled Twilight) and you'll see what I mean. This series is awesome, and it's been nice to want to devour a book whole again. I haven't been this giddy since reading Harry Potter. So a big thank you to Stephenie Meyer for that. And a not-subtle hint for any of you who are even remotely fans of paranormal and YA to read this series. :)
Then I met Edward.
Ha. Stephenie Meyer's Twilight saga is so darn good, I'm staying up way past my bedtime (like 1:00 AM, and I have to get up at 5:00) to read. It takes Edward, like, 43 pages to even say hello to the girl in the first book. And the minute he opened his mouth, I went "Eeek! I love him!" How's that for building up your romantic tension?!? I have to be honest and say there's more "telling," adverb use, rolling eyes, looks, and repeated phrases than I think we could get away with in the adult romance genre - but obviously Stephenie knows what she's doing, since all four books have topped the bestseller list. Topped, like, Number One.
That's gotta be Edward's fault. Really, pick up the first book (aptly titled Twilight) and you'll see what I mean. This series is awesome, and it's been nice to want to devour a book whole again. I haven't been this giddy since reading Harry Potter. So a big thank you to Stephenie Meyer for that. And a not-subtle hint for any of you who are even remotely fans of paranormal and YA to read this series. :)
Thursday, January 23, 2025
Sticking to It
Promises, Promises
Everyone knows promises are important. As a child, you pinky swore to be besties forever (and some of us are still friends to this day. Go, us.) As important as promises are to others, don't forget the ones you make to yourself. You matter just as much as the people around you.
Every year, I choose a word and try to make it my "word to live by" for the year. This year's word is HEALTH, and that includes my mental and physical health.
The arrival of COVID-19 derailed most of us across the world. All the work I had done in the prior few years went right out the window with everything coronavirus brought with it. I will freely admit I stress ate and gained back all the weight I'd worked so hard to lose. Things were Not Good.
Getting the Gear to Get In Gear
This, I decided, is the perfect year to work on my health again. I work from home in my day job, so I have a standing desk, but that alone isn't enough. I need to do some real work. With those two aspects of my health in mind, I decided to add yoga back into my routine. Yoga works the body while helping you calm your mind with focus and meditation. I had taken classes previously, and an opportunity came up earlier this year that sounded uncannily like the universe telling me to get off my butt.
I have no excuses (well, nothing good unless you count watching the Lord of the Rings trilogy again), so I decided to get some pretty new yoga gear to encourage me to Do the Thing.
You can do yoga in a T-shirt and sweats, but if you have the means, new gear is a fun way to encourage you to keep new habits...and a lifestyle change of eating better and getting more movement (I will never call it a diet, because I won't stick to it) is, essentially, building a new habit. There's no exact science to habit building. It takes anywhere from a couple of weeks to a year, according to experts. Do whatever it takes to form that good habit, whether it's small steps or treating yourself to an inexpensive step in your goal. I got a bag, mat, and yoga blocks for less than $27.00 new...and don't forget the secondhand stores.
Staying the course takes a certain amount of willpower. Don't get too hard on yourself if you made a New Year's resolution, then faltered on keeping it. The beauty of it is, you can get back to it. Support networks are a huge bonus in this. Social media groups, friends, and family are just a few connections you can cultivate to help you through the tough periods of sticking to your goals. (I don't know where I would be without my friends and family after 2020.)
Got a resolution you're working on? Feel free to drop me a line about it, or subscribe to my newsletter to follow my journey and get other updates from me!
Wednesday, July 09, 2008
Be Your Own Worst Critic (So Others Won't Want To)
We all do it. We write a book we love. It's wonderful. Its characters made us laugh. They made us cry. They made us fall in love. "That book is my baby," we say.
Until that manuscript goes into a drawer for a month while you let the ink dry, and the objectivity comes back.
This is what you must do as a writer, to distance yourself from the books you've written. Only after you haven't seen the work for a while, can you read it with fresh eyes. And when you come back and hate the words you've put on the page, and you're ready to burn it, and you think you should never torture the world with your prose again ... then you're ready to revise.
Being critical of your work is not a bad thing. In fact, it will help you get the thick skin you need to be an author. Your worst critic--you--is about to become your best ally on the road to publication.
First and foremost, you'll need to look at the mechanics of your writing. Are the sentences structured properly? Are you using poor grammar only where it's done on purpose (There are such instances!)? Is your book loaded with adverbs? Too much telling and not enough showing? Remember: Unless you fix the mechanics, your reader won't be able to see past clunky writing to appreciate the great plot and characters of your book.
Next, look at characterization, POV, and flow of your storyline. Is everything consistent? Do a character's actions and reactions make sense for his/her worldview? Do the scenes flow nicely? Are some too short and others too long? Do you get to spend enough time in each major character's head to fall in love with him/her? Could a scene be written better in someone else's POV? Cut scenes, move them, rewrite them. You can save the whole enchilada as a new file in your computer, so that you have the old version on hand, should you want to change something back.
Do not be afraid to slash and burn parts of your book. If the core of your story is strong and moving, it will survive the editing process! And if an agent or editor suggests a change to your manuscript, consider it carefully. Most of them are experienced in what sells, and they want you to get the best bang possible out of your manuscript. They aren't out to tear up your work, I promise.
That's your job. :)
Until that manuscript goes into a drawer for a month while you let the ink dry, and the objectivity comes back.
This is what you must do as a writer, to distance yourself from the books you've written. Only after you haven't seen the work for a while, can you read it with fresh eyes. And when you come back and hate the words you've put on the page, and you're ready to burn it, and you think you should never torture the world with your prose again ... then you're ready to revise.
Being critical of your work is not a bad thing. In fact, it will help you get the thick skin you need to be an author. Your worst critic--you--is about to become your best ally on the road to publication.
First and foremost, you'll need to look at the mechanics of your writing. Are the sentences structured properly? Are you using poor grammar only where it's done on purpose (There are such instances!)? Is your book loaded with adverbs? Too much telling and not enough showing? Remember: Unless you fix the mechanics, your reader won't be able to see past clunky writing to appreciate the great plot and characters of your book.
Next, look at characterization, POV, and flow of your storyline. Is everything consistent? Do a character's actions and reactions make sense for his/her worldview? Do the scenes flow nicely? Are some too short and others too long? Do you get to spend enough time in each major character's head to fall in love with him/her? Could a scene be written better in someone else's POV? Cut scenes, move them, rewrite them. You can save the whole enchilada as a new file in your computer, so that you have the old version on hand, should you want to change something back.
Do not be afraid to slash and burn parts of your book. If the core of your story is strong and moving, it will survive the editing process! And if an agent or editor suggests a change to your manuscript, consider it carefully. Most of them are experienced in what sells, and they want you to get the best bang possible out of your manuscript. They aren't out to tear up your work, I promise.
That's your job. :)
Monday, July 25, 2022
Keeping It All Together
These days, it seems everyone wants a piece of my time. Not only do I have a day job, but I have a family, a house to clean, books to write, and the inordinate time-suck that is social media. Some days, I’m amazed my head isn’t literally spinning on my shoulders. Authors, I’m sure you know what I’m talking about. It’s tough enough being a work-from-home author, but when you add in chores, families, appointments, day jobs, and the vast black hole of the Internet, things sure get hairy, don’t they?
This sort of crazy can easily lead to burnout, which I’ve been dealing with off and on for some time. It definitely makes writing the next book a challenge.
One Step (or Stand) at a Time
I often have to remind myself, when things get too hectic, to breathe. Nothing beats a deep belly breath for easing tension you didn’t even know your body was building up. For that matter, your body might have been silently telling you, for the last couple hours, to move as well.
If you’re lucky enough to have a standing desk, change its height so you can stand while writing. I have one, and I adore it because I’m on my feet all day at my day job, so it’s the most comfortable for me. Standing burns more calories than sitting, and if you’re fortunate to have good knees, hips, and feet, it’s a great way to burn passive calories. (I highly recommend an anti-fatigue mat even if you’re in great shape.) This way, you don’t feel guilty for “not moving” all day, because you’re getting some exercise.
If you don’t own a standing desk, you can prop your keyboard on a lap tray to raise your working height. If none of this is doable, try setting a timer to remind you to move, stretch, grab a drink of water, or take a short walk. Any motion is good motion!
Get Out
Feeling frazzled? Get outside. The benefits of fresh air and sunshine can’t be overstated. If you have a laptop, bring it out to the deck, porch, or balcony, or head to a local park. Even a writing sprint at the coffee shop can be beneficial for the senses. A change of scenery is good stimulation, and can help relieve some of the mental fatigue that comes with those long writing marathons (my favorite is my local Starbucks).
Pet Therapy
If you’re having a day, take some time out to commiserate with your pet. My dog has gotten me through some of the worst times in my life. Pets are nonjudgmental, even if you hate the living daylights out of that scene you just wrote.
Recalibrate and Return
After trying a few of these tips to destress, I hope you’re feeling more relaxed and ready to get back to writing (or any of the other tasks on your list). Just remember to take it one task at a time. Hang in there, Writer!
Wednesday, May 23, 2012
Supermoth!
We had a visitor at work today - and not the two-legged kind.
My coworker came in from her break with a picture of a striking - and very big, she said - critter that looked, at first glance, like a butterfly. Since it was out in broad daylight, and sitting with its wings straight up, I assumed it was a butterfly.
Turns out, it is Hyalophora cecropia, North America's largest moth. I went out to get a better look at it, and it sports the fuzzy body and feathered antennae common to all moths. But unlike other moths (and most butterflies) I have seen, this fellow was huge. He was about 5-1/2 to 6 inches in wingspan, by my guess. And very striking for a moth, too. My only question is, why was he out in the daytime?
Maybe he was telling us to go home and get a nap.
My coworker came in from her break with a picture of a striking - and very big, she said - critter that looked, at first glance, like a butterfly. Since it was out in broad daylight, and sitting with its wings straight up, I assumed it was a butterfly.
Turns out, it is Hyalophora cecropia, North America's largest moth. I went out to get a better look at it, and it sports the fuzzy body and feathered antennae common to all moths. But unlike other moths (and most butterflies) I have seen, this fellow was huge. He was about 5-1/2 to 6 inches in wingspan, by my guess. And very striking for a moth, too. My only question is, why was he out in the daytime?
Maybe he was telling us to go home and get a nap.
Wednesday, October 27, 2010
Research Via Movies
With WATER completed, I am now turning my attention to research for the next book, AIR, and getting a little research done on story as well.
An easy way to get a handle on story - plot, structure, characterization - is to check out movie commentaries featuring the writers or directors. In particular, pay close attention to what scenes they say they edit or delete, and why. I find this an invaluable reference for the art of tight storytelling. Sometimes they will also mention why a scene needed to be added. This is important especially as an aid to character continuity. You don't want your character to jump from point B to point Q on his arc, or your reader (or viewer) will go, "Huh?" Hence, the addition of a missing scene to illustrate character growth.
Movies and tightly plotted books are not all that different. The tools are a bit different, but you are still telling a story, and cutting away the deadwood helps your story shine. The next time you watch a movie you've seen before, make sure you watch it with the commentaries enabled. You might be surprised how much you learn!
An easy way to get a handle on story - plot, structure, characterization - is to check out movie commentaries featuring the writers or directors. In particular, pay close attention to what scenes they say they edit or delete, and why. I find this an invaluable reference for the art of tight storytelling. Sometimes they will also mention why a scene needed to be added. This is important especially as an aid to character continuity. You don't want your character to jump from point B to point Q on his arc, or your reader (or viewer) will go, "Huh?" Hence, the addition of a missing scene to illustrate character growth.
Movies and tightly plotted books are not all that different. The tools are a bit different, but you are still telling a story, and cutting away the deadwood helps your story shine. The next time you watch a movie you've seen before, make sure you watch it with the commentaries enabled. You might be surprised how much you learn!
Sunday, May 19, 2013
Movie Review: Pan's Labyrinth
**Plot spoiler warning**
I gave this one a day to sink in. My husband loves movies directed by Guillermo del Toro, especially the Hellboy films, so he was curious about this one. I recalled liking both Hellboy films, and after watching the trailer (which, itself, looked pretty interesting and had some reviews by credible movie reviewers), we decided to rent it.
Pan's Labyrinth is in Spanish, with English subtitles, but don't let that put you off. Del Toro, as usual, has created a visually striking, otherworldly, and vaguely haunting piece, and the subtitles don't detract from it. The soundtrack is pretty terrific, too, by the way. I enjoyed the representation of Pan - a bit creepier than the usual conception of him, but certainly fitting for the tone and style of the film. I would call it a "dark fairytale."
My major knock against this film has to be in its lack of cohesion. I get the sense that all the "connecting" themes were left on the cutting room floor, perhaps due to a time or budget constraint. (Insert reiterated plot spoiler warning.) One half of the film deals with Spain, circa 1944, and the relationships between the main character, a girl named Ofelia, her pregnant mother, and the mother's new husband, a powerful but increasingly brutal military leader. The other half of the film deals with a completely disconnected fairytale-slash-legend that would have it that Ofelia is a princess from another realm, reborn into a human body, and that she must return to her rightful home.
These two disparate storylines never actually connected for me in any meaningful way. I had been expecting the typical hero's journey, whereby the girl would extract some wisdom from this other realm, and bring it back to her life in Spain in some way, or perhaps vice versa. At least, I thought somehow the storylines would converge ... but they never did, and the ending therefore left me a bit dissatisfied. I felt as though del Toro was telling two wholly separate stories, with plenty of their own conflicts and characters to drive them, but that both had been mashed together in the same film. I was sorry to see it had ended up that way, because if that cohesion had been present, it would have enriched both storylines and earned a much higher rating from me.
SCORE: Three of five stars
Thursday, January 24, 2008
Heath Ledger & Fellow Author News
By now, most of you know that actor Heath Ledger died Tuesday. He was best known for his roles in "Brokeback Mountain," "The Patriot," and "A Knight's Tale." How sad this is - he was only 28, and left behind a 2-year-old daughter. With a 1-year-old myself, I feel all the worse for his family. My heart goes out to them.
What's strange is, I was just telling my husband the night before how much I liked Heath in "The Patriot." I had even planned to use him as inspiration for a character in one of my books down the road. Sigh.
On a much more positive note, fellow author Kari Lee Townsend entered the Amazon Breakthrough Novel Award contest with her novel, DESTINY WEARS SPURS?, a Western romantic comedy that will keep you in stitches. She got a lot of nice reviews, including one from Publishers Weekly! Check it out!
What's strange is, I was just telling my husband the night before how much I liked Heath in "The Patriot." I had even planned to use him as inspiration for a character in one of my books down the road. Sigh.
On a much more positive note, fellow author Kari Lee Townsend entered the Amazon Breakthrough Novel Award contest with her novel, DESTINY WEARS SPURS?, a Western romantic comedy that will keep you in stitches. She got a lot of nice reviews, including one from Publishers Weekly! Check it out!
Thursday, September 30, 2010
WATER is Finished!
Last night, I finished the first draft of WATER, the second book in the Elemental Series of paranormal romances. I will spend the next couple of weeks revising, and then I'll have to bid it goodbye as I send it on to my editor. After that, it's on to Book Three, AIR!
I feel safe telling you this little hint, though: WATER features Morgan, the water Elemental, now the chef-in-residence at a bed-and-breakfast on Nantucket island. Look for more exciting news on WATER as it comes up!
I feel safe telling you this little hint, though: WATER features Morgan, the water Elemental, now the chef-in-residence at a bed-and-breakfast on Nantucket island. Look for more exciting news on WATER as it comes up!
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