DIALOGUE PRACTICE

By Joan Walsh

May

10

Make your dialogue shine by remembering a few simply suggestions:

 1. Use “said” the majority of the time to avoid slowing down and breaking up the reader’s pace.

 2. Eliminate unimpressive words like “ums” in your dialogue. Use interesting and informative word choices in your dialogue, words that move the story forward and enhance the plot.

 3. Avoid beginning dialogue with the character’s proper name 98% of the time, because it makes your dialogue sound unnatural, forced and fake. If only two characters are involved a scene, you may avoid all dialogue tags if you have developed each character’s voice well enough. If a scene includes more than two characters, you will need the “said” dialogue tag in select places to keep your readers from being confused.

 4. Always read your dialogue aloud to make sure it is stated in the natural voice of each character, and at the same time informative. This is very difficult and requires practice.

JOAN

MANUSCRIPT CRITIQUE SERVICE by CCCW

By Joan Walsh

Apr

22

Manuscript critique service is being offered by members of the Cape Cod Children’s Writers.

If you do not have time to attend our one-day writing retreats consisting of six clients, we will be happy to offer you a written critique by one of our group members.

Do you have a middle grade, a young adult novel, or a short story work-in-progress that you would like an opinion on? The first chapter is crucial in capturing the attention of an editor at a publishing company. You may obtain a written critique of your first chapter for $150.00.

If you have 3 children’s poems, and or a picture book manuscript in progress, one of our writers will critique your work for $75.00.

Contact Joan Walsh at irishseaside2@aol.com, and your work will be assigned to the group member who will best serve your genre.

As you can tell from our blog, we love talking craft, exploring story, and delving into the nuts ‘n bolts of writing.

JOAN

EIGHT COUSINS BOOKS MARKETING LINK

By Joan Walsh

Mar

28

ANNE BARBER and I want to thank Eight Cousins Books, voted the winner of the best children’s bookstore in New England, for a most supportive author link to our future, summer book signing event.
Event:
http://site.booksite.com/7144/nl/?list=CNL1&group=EB97

JOAN WALSH

BOOK TITLES

By Joan Walsh

Mar

10

So you’ve written a great novel. Now, you need a great title that stands out among all others in this crowded market.

Titles containing three words or less are best remembered by readers.

If your book title doesn’t stand out, how is it going to sell? A title is the flag symbol that must represent the content within the covers. It needs to demand attention, so search Amazon’s book titles to see if yours is overused in the genre you have chosen.

Book titles cannot be protected by copyright, and this is why you see many books with the same title. If the title is unique, go for it, but if not try, try, again, and consider this search time well spent.

JOAN

EXPLORING THEME IS TIME WELL SPENT

By Joan Walsh

Feb

21

Theme is the unifying element of a story.When you think about the theme of your novel or story, attempt to find the underlying core concept; an idea you’re exploring with your specific plot, characters and problems. Mind you, we are not concerned with details of your plot and characters, but their collective meaning.

In a novel I’m writing, the details of how each character attempts to solve problems may be differ, but their thoughts and actions includes the core concept of survival, therefore survival is the theme.

In real life we all try to find love, overcome fear, and solve problems. We may approach the details of life differently, but the goal remains the same. This sameness is your theme.

If your character routinely performs a job which is normally performed by the opposite sex, then equality may be your theme.

If you research THEME, you will find as many as 100 possibilities. You do not have to know your theme before you begin writing, but if you know the theme, it will help you make difficult choices as to how to move plot, and how to develop character traits.

TWO TIMES ONE

By Joan Walsh

Jan

22

 

Feel free to read my adult short story entitled TWO TIMES ONE.
 

The Write Place At the Write Time; an online literary journal, an official member of the Council of Literary Magazines and Presses, features fiction, poetry, non-fiction and more in the area of fine arts.
 
 

NEW YEAR for 2013 WRITERS

By Joan Walsh

Jan

4

WRITING GOALS TO CONSIDER:

Celebrate in some personal way, alone or with others after you complete the first draft of a picture book or after each one hundred pages of a novel.

Commit to writing two pages per day.

Think on a deep, emotional level what characteristics you, and or people close to you,  have in common with your story characters.

Know your story plot and what your characters want and need before you begin writing their unique VOICE in dialogue.

Do not be afraid to fail. Include each creative idea in your story, remembering it is fine if you need to cut, move or replace that idea during the revision process.

Know what your book is about in twent-five words or less.

When you plot your story, do it in logical order: What action happens next, and what is the reaction to what happens next.

Take advice from educated critique sources and be ready to at least consider changes, knowing the final decision to add, change or delete is yours. 

Joan

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BOOK PROMOTION BEYOND THE NORM

By Joan Walsh

Dec

19

You may want to explore promotion opportunities beyond FACEBOOK and TWITTER.

Virtual Tours allow authors to visit book blogs and websites to offer give-aways, a book excerpt, or an interview. Unlike physical touring that can be costly, virtual touring is quick and free (except for give-aways).

A book blast is more commercial, whereby authors approach a variety of blogs and post an author’s book’s blurb, buy links, bio and picture, and book cover. While this costs money, it brings in a new audience, and the leg work is done for you.

  A cover reveal is similar to a book blast. The book cover is revealed and it is shared with multiple audiences.

 Become a GOODREAD author and offer your book in a Goodreads giveaway. You can spark interest in your new book by giving one away, since many  followers may add your book to their “want to read list.” Your cost is your give-aways and postage. Giveaways can be exchanged for a book review, which may attract more readers.

It costs money to purchase book swags (t-shirts, magnets, bookmarks etc), but places like Vistaprint.com or Print Runner, sometimes offer affordable packages.

Each of these promotion ideas can be accomplished without ever getting up from your computer.

Joan

CHAPTER ENDINGS KEEP READERS TURNING THE PAGES

By Joan Walsh

Dec

18

Chapter ending lines, otherwise known as cliffhanger lines, make people turn pages and keep reading. End your chapter mid-action or mid-scene rather than at the end of the character’s day, or when a situation’s tension has been resolved. Not every chapter needs to end with a gripping page-turner. Variety rules.

 
Your main character should have internal conflicts, relationship conflicts with other characters, and external conflicts with the environment in which he lives and works.

 
What your main character fears most, and his reaction to these fears give characters debth and make the reader relate to them in a more personal way.
Picture this: Conflict Simmers-Conflict Boils-Conflict Explodes-Breathing Space- Repeat this in peak and valley motion, making sure that your peaks get progressively higher and higher as the story nears the final conflict. Don’t let your peaks plateau.  Escalate them. Constantly ask yourself what would make this situation more difficult, and allow it to happen.

Know when it is a good time for your characters to fail or succeed, as your story moves closer to the final conflict.

Create mystery, suspense, and sudden surprises that escalate conflict and force the main character to scramble towards safer waters. Make sure all surprises are relevant to your plot.

These hints are difficult to do well. so for the next week or two, I suggest you put your writing down and draw family and friends close, and make way for a Merry Christmas, and a Happy New Year.

Joan

Eight Cousins Books Holiday Shopping

By Joan Walsh

Dec

9

I just received notice from Eight Cousins Books that Anne Barber’s and my picture book is being featured for holiday gift-giving in the local authors category for children ages 6-9 who like travel adventures, scrapbooking, and journaling. Eight Cousins will gift wrap free of charge. 508-548-5548

MOTIF

By Joan Walsh

Nov

14

A motif is an image that is created and repeated throughout one’s novel, using a variety of select words to send the same message in a more literary manner.

In Laurie Halse Anderson’s YA Novel Speak,  Melinda Sordino, the protagonist and  high school freshman, lives with a secret environmental protagonist, silence. Anderson helps the reader FEEL the emotion associated with living in a silent world and the inner numbness of wanting to hide, by employing the writing tool of motif. She hooks the reader by placing images in various scenes throughout her novel. She accomplishes this by using the following motifs:

SILENCE

“My throat burns.”  page (5)

“My throat squeezes shut, as if two hands of black fingernails are clamped on my windpipe.” (28)

“I try to swallow the snowball in my throat.” (72)

“The sharp edge of the flap cuts my tongue. I taste blood.” (74)

“It’s easier to floss with barbed wire.” (108)

“I have an egg in my mouth. One move, one word, and the egg will shatter and blow up the world.” (117)

NUMB INNER THOGHTS AND WANTING TO HIDE

“I am going to be completely, totally cool, like nothing has happened. Think ice. Think snow.” (20)

“Every mistake I make is frozen in the picture.” (54)

“A minor blizzard blows outside … I can feel the wind fighting to break through our storm windows. I want the snow to bury our house.” (87)

“Cold and silence. Nothing quieter than snow. The sky screams to deliver it, a hundred banshees flying on the edge of the blizzard. But once the snow covers the ground, it hushes as still as my heart. ” (130)

Writing well requires study.

JOAN

 

 

 

 

 

 

 

 

HOW TO AVOID THE PAIN OF REJECTION

By Joan Walsh

Nov

13

Writers know that publishers print books they believe WILL sell. Publishing is a business, and writers are artists. When the two embrace, BRAVO.

A writer needs to remain motivated and learn how to rise above the pain of rejection from the publishing world. How, you might ask?

I suggest you write like my fellow writer, Linda Williams. Her memoir THROUGH the WIDOW’S WINDOW is a story she is editing, submitting, editing, and submitting. Linda perseveres because she is writing the story that changed HER life forever. When Linda’s book is published she hopes it touches the lives of her readers, but this is not why she writes, edits, and perseveres through the publishing process.

How does your story change YOUR life?

Joan

HOW TO CREATE SUSPENSE

By Joan Walsh

Oct

15

Let your characters race against time as they try to deal with deadlines and or worried thoughts.

Create setting changes and force distant travel for your characters.

Include dangerous obstacles in your setting.

Show your antagonist’s plan of action against your main character as it brews step by step.

Isolate your main character as he enters the danger zone. Is there an escape plan?

Who is important in your main character’s life? Show external and internal expectations your main character feels forced to deal with.

Create disastrous consequences (large and small) for your character’s actions and life choices, based on one or many of your character’s personality flaws.

Something very important to your character must be lost. Show the internal and external fight to get it back.

JOAN

EDIT IN LAYERS

By Joan Walsh

Oct

7

Editing becomes most productive if it is done in layers: sentence, paragraph, scene, and story. The results, a better story.

Sentence Layer

Use the ”FIND” function on your WORD PROGRAM to view how many times you have used empty words: got,really, that, very, just. Eliminate them, if they do not serve a STRONG purpose. Do the same with adverbs. Make sure your adjectives are necessary, and delete if they are not strong word choices.

Do not tell us the obvious thing your character is doing, like putting on his shoes. SKIP.

Choose strong one word verbs like SHE TRIPPED instead of SHE IS ABOUT TO TRIP. Eliminate as many forms of the verb TO BE as you can, and replace them with strong verbs. Take a look at the GERUNDS you are using, and eliminate as many as possible. A thesaurus is your best friends when you are writing.

Paragraph Layer

Look for telling sentences in a paragraph. Right next to it write a showing sentence with strong verbs. Then delete the telling parts of your original sentence.

Example: I could tell Rob didn’t believe me.

The fix: Rob slapped my shoulder. “You told me you were coming to the dance.”

               Yes, look I’m dancing. Just 30 minutes late. What of it?” 

The reader sees the disbelief instead of the narrator telling. Dialogue is a great way to add action. You’ve added words, but your sentence holds the reader’s interest.

Scene Layer

Tighten your scenes by not including anything or any characters who do not move the scene forward. Limit what is going on in any one scene. Do not add elements of distraction.

Example: You have a home break-in scene. The homeowner is approaching the house and sees her cat jump out of an open window. This is no time to describe the features of the cat. Let the cat’s action move the homeowner to act in relationship to the break-in. 

Story Layer

Think about your story. List your plotline and sub-plotlines. If the subplots do not move the story forward, or show character growth, you may want to remove them. If the reader would be tempted to skip a part of your story, then delete. Do not add characters, unless they serve a purpose within your story.

Example: Sam hears an unusual noise while he’s walking in a wine vineyard. Continue to move us closer to the action. Do not add a subplot about the equipment used to make wine anywhere, unless it is important to the story as a whole.

Joan

METHODS OF BACKSTORY

By Joan Walsh

Aug

21

 Backstory or background story must be artfully inserted into your writing. A lengthy narrative may become boring for readers, so let’s explore alternative techniques:

Flashbacks: Tough to write because they must be written in the past perfect tense. Use them sparingly because flashbacks look back and story looks forward. Writers must avoid losing the momentum.

Monologue: An option if you’re writing in third person subjective POV.

Dialogue: Explore backstory by using direct quotes from your various characters. Voice can question, accuse, tone and elude to a character’s history. Try to develop a different voices for each major character.

Prologue: A prologue is written before chapter one of your book. It is the first piece of writing your editor or agent reads. One should avoid this option, if possible, and make chapter one a powerful opening that compels the reader to want more.

Memories: Insert memories in short doses throughout the story. Do not ramble on and take a chance of boring the reader.

Internal dialogue: Be sure to know your character’s point of view and voice. Let your characters speak to you out loud, before you write.

Props: Use setting and props within the setting to show how keepsakes matter in terms of backstory. Look at any room or location you travel to very carefully, and you will find hints about the lives of those who frequent this setting.

It is important to begin your story with forward action that is happening to the protagonist that we are getting to know and care about before we insert too much backstory of any form.

JOAN       PS On a lighter note, I’m remembering that today is the day I gave birth to identical twin boys, 38 years ago. My most special moment in time! AMEN

SUBTEXT

By Joan Walsh

Aug

20

Writers may enrich a story by using subtext to create more story depth.

Subtext is the hint or subtle undercurrent a writer inserts below the surface of his story. It’s what remains hidden and or implied from the obvious story details, but it simmers just enough to catch the reader’s attention. As the story unfolds, it is the story matter that is woven into the plot by use if imagery and words that show the character’s behavior to the reader. It’s importance becomes apparent to the reader as the story unfolds. It is implied or hidden information that remains loyal to the theme of the story.

For example: a love story about a boy’s attraction to a girl, but it’s hidden by his negative behavior towards her; a drug addicted character in denial with behaviors that show no one can count on him; Dracula, a vampire story with behaviors that show sexual desires.

Subtext is about hinting, weaving, application of imagery and symbolism into one’s plot without actually revealing anything. The writer shows, but does not tell. The reader forms his own conclusion about the hidden meaning beneath the obvious.

Joan

PLOT SHAPES

By Joan Walsh

Aug

19

Plots shapes vary, so I would like to share portions of what I learned from Mette Ivie Harrison’s article about 21 plot shapes.

The small bumps are moments of minor climax on the way to the larger climax.  They are reaction moments or interludes to some action that takes place in your story. The key to this plot shape is that each smaller climax is related to the larger climax and eventually leads to it.

An example: The Hunger Games. There are small climaxes as Katniss defeats each antagonist along the way. After she has moments of rest to recover and then the writer plans her next step. The final climax is the defeat of the last enemies, not only in the games, but the people who are trying to manipulate her outside of the games. She gains control over the games themselves by playing on the sympathy of the crowd to enable Katniss to save Peeta’s life and her own.

JOAN

MAURICE SENDAK

By Joan Walsh

Jul

7

You know you are a writer who has influenced readers when the unexpected happens.

Anne Barber and I were recently trying to sell our book, Cape Cod Memory Makers Explores the Town of Falmouth, at a book signing at Eight Cousins Children’s Books in Falmouth, MA, when a middle aged, muscular man came to our table and politely peeked through our book. Anne and I noticed he was sporting a tattoo of Maurice Sendak’s character Max from Where the Wild Things Are, on his arm. Immediately, we knew this man had been touched in some way by this Caldecott-winning book.

Several days later, Maurice Sendak died and a letter from one of Sendak’s readers was mentioned in his obituary. It read:

“Dear Mr. Sendak, How much does it cost to get to where the wild things are? If it is not too expensive, my sister and I would like to spend the summer there.”

Bravo Maurice Sendak!

Joan

CAROL CHITTENDEN’S VIEW OF CAPE COD MEMORY MAKERS

By Joan Walsh

Jun

26

Saturday, June 30, 11 a.m. Author Joan Walsh and Illustrator Anne Sessions Barber pay a visit to Eight Cousins on Main Street in downtown Falmouth with their book, Cape Cod Memory Makers: Explore the Town of Falmouth. We’d love this book even if it didn’t have Eight Cousins’ façade and alphabet chair on the front cover, because it’s a great way for kids to get acquainted with special local places, and record their own impressions, memories, drawings and photos right in the book.

 Walsh and Barber are delightful people to meet, they have funny stories about the genesis, progress and success, and they’re now starting on similar books about other beloved Cape locations.

JOAN

STORY TEMPLATE

By Joan Walsh

Jun

14

I am sharing Amy’Deardan’s four story pillars mentioned in her book entitled THE STORY TEMPLATE: Conquer Writer’s Block

The Four Story Pillars

A story (novel or screenplay) is often thought of as having two arms: outer and inner story. The outer story covers the external plot: what readers will summarize when asked what your story is about. The inner story describes the emotional journey of one or more characters.

 Romance or literary work often focuses on inner story, while a mystery or action-adventure usually emphasizes outer story. 

 Story involves two tiers of construction: concrete and abstract. The concrete describes the actual events and characters, whereas the abstract sheds light on the applications of how story fits into society, relationships, and life.

 Within concrete and abstract are the four story pillars: PLOT is the actual story line with story goals and external obstacles. CHARACTER the inner emotional journeys of one or more characters. STORY WORLD the specific environment in which the story takes place. MORAL the theme; message that the story conveys.

                                                                     OUTTER STORY         INNER STORY

CONCRETE                                                PLOT                              CHARACTER

ABSTRACT                                                 STORY                            MORAL

 The STORY PREMISE, is the pillar that drives the story.

For example:

Plot Pillar – Iron Man, Jaws

Character Pillar – Forest Gump, Rocky

Moral Pillar – Facing the Giants, Ender’s Game

Story World Pillar – Fellowship of the Ring, Harry Potter

 Although the story centers around one pillar, the other pillars are developed to a greater or lesser extent in order to make your story grip readers.

 PLOT: What is your story question? What is your story goal? What are the stakes of your story (the bad things that will happen if your protagonist doesn’t achieve his goal)? What is the main obstacle (usually the antagonist) blocking your protagonist from reaching his goal? What are some other obstacles?

 CHARACTER: Who is your protagonist? What does he want in the story? Does he have a secondary protagonist? (The secondary protagonist works with the protagonist as a team to achieve the story goal, and is often a love interest). What is your protagonist’s “hidden” (emotional) need that will be fixed in the story? Who (or what) is the antagonist? What goals are your protagonist and antagonist competing for?

 STORY WORLD: What is the time and place of your story? What are common social customs? What do buildings and structures look like? What do your characters eat, wear, and use? What is the weather like? 

 MORAL: What is the ONE universal principal that you want to explore in your story? Some examples of moral might be:

 Romeo and Juliet: Great Love Defies Death.

Forest Gump: Unconditional Love Redeems the Rebel.

Fellowship of the Ring: Willingness to Relinquish Power Leads to Preservation.

The Godfather: Family Ties Overcome Individual Virtue.

Rocky: Courage and Persistence Lead to Significance.

The Incredibles: Working Together Allows Each Individual to Shine.

JOAN

REVISION

By Joan Walsh

Jun

11

When an agent suggests you make changes to your manuscript, revise and resubmit. Your work has not been rejected, nor has it been offered representation. The agent or editor is telling you your work shows promise.

 Take your time and make changes you understand and agree with for the most part. Have your critique group give you feedback on your edits before you resubmit. Many sets of eyes will help you carry your changes throughout your manuscript.

 Thank the agent or editor, and ask questions if you do not understand their suggested comments. Then try to give them an expected time-frame for your revision process.

Remember, courage is going from failure through revision without losing enthusiasm.

JOAN

 

EDGARTOWN BOOKS ON MARTHA’S VINEYARD TO REOPEN

By Joan Walsh

May

24

 Edgartown Books on Main Street in Matha’s Vineyard will reopen under new ownership at 9 am on Friday, May 25. Jeffrey and Joyce Sudikoff of Los Angeles closed on the purchase of the business and building.

Mr. Sudikoff was the founder and chief executive officer of IDB Communications Group Inc., and a former part owner of the Los Angeles Kings hockey team. He and his wife own a home in Edgartown, where they have been summer residents since the 1970′s.

The Sudikoffs hired Susan Mercier, the former manager of Edgartown Books, as their new manager.

On behalf of the Cape Cod Children’s Writers, I want to thank  the Sudikoff family for cherishing the needs and wants of all Cape Cod readers and writers.

JOAN

HOLLYWOOD SNAPS UP EBOOK TITLES

By Joan Walsh

May

23

According to the news article by Rachel Abram, ebooks are emerging as a new source of material for Hollywood.

The majors are keeping a close eye on digital bestseller lists and showing a willingness to pay traditional book-rights fees for digital titles — provided they come with built-in brand awareness.

The hunt to option such titles is heating up after a handful of high-profile sales of ebooks, many self-published, including April’s $3 million sale of “50 Shades” to Universal. Observers credit “Shades” with paving the way for subsequent sales of “Wool” and “On the Island,” both of which sold despite the fact that both went straight to Kindles and iPads without going through major publishers.

According to Steve Fisher, a literary agent who represents books-to-films deals, and other buyers are open to ebooks in a way they hadn’t been before.”

But traditional books have a key advantage over their digital counterparts: publishers tend to get into business with known quantities, or properties vouched for by literary agents.

With ebooks, it’s the Wild West when it comes to identifying promising authors and material. Digital books provide no gatekeepers vetting their quality.

According to data from the research firm Publishers Marketplace, film and TV producers bought rights to 209 books last year and 79 so far this year. Very few of those were ebooks, and nearly all sold before they were published.

That means ebooks grab the attention of lit agents only after they start rising on the charts or generate enough word-of-mouth buzz. 

 The New York Times began listing bestselling ebooks in early 2011. Getting discovered is a big challenge for the ebooks that aren’t perched atop the bestseller list. Reps often catch wind of self-published material by looking at the top-sellers lists on Amazon and iTunes.

More and more ebook authors are becoming very savvy at promoting themselves.

 Traditional book rights often fetch between $150,000 to $250,000 — a range that now applies to popular e-fare.

Publishers are cutting back their budgets and depending upon junior execs to bring in material.

Studios employ a book scout in-house, or work with an outside company. Disney, 20th Century Fox and Sony, for example, have a scout on staff, while Warner Bros. and Universal work with outside companies on an exclusive basis.

Bottom line, keep writing what you enjoy, and who knows…

JOAN

 

 

MY MEMORIES OF GERMANY

By Joan Walsh

May

20

A two week auto trip from one end of Germany to the other.                                                                             check

Writing material purchased at Dachau for my novel research.                                                                  check

Architectual beauty, fields of flowers, forest, lakes, castles, alps, churches

                                                        check

Thank God the Weight Watcher angel spoke only German, so I was able to ignored her completely.                                    check

Every meal was a delightful experience, indoors, as well as those of outdoor café style.                                               check

That said, what will I remember and cherish most?

I’ll remember Judy, Shirl, and Kiwi; the best of friends, who surrounded me with laugher day and night for two solid weeks, my friend Lois and her sister Marie for making the lovely gifts to bring to Nadja’s baby Bruno, I’ll remember Nadja arriving in the USA and living at my home when she came to Woods Hole to do scientific research. I’ll remember how sad I felt when she returned to Germany, because she became like a daughter to me, I’ll remember Roberto Bruno’s daddy, Nadja’s mom and dad, and Nadja’s aunt and uncle. I’ll remember the most heartfelt greeting we received when we first arrived at the roadside ramp off the highway; Nadja’s sweet German family of six, waving the American Flag at us. I’ll remember the good luck booties Nadja’s mother, Matina, gave me, so that I too may become a GRAMMY some fine day, and I’ll remember leaving Nadja’s town on Mother’s Day, as the hotel clerk handed me what I thought was a bill, but it was a Mother’s Day picture card of Nadja and her beautiful baby Bruno. The card said Happy Mother’s Day from your German daughter. Memories yes!. I shed tears of happiness about this trip of a lifetime with people I love, and this is what I’ll remember.

People come into our lives for a reason, and I never question why, I just thank God.

JOAN

EARTH DAY AT EIGHT COUSIN’S BOOKS

By Joan Walsh

Apr

20

April 18, 2012, Anne Barber and I celebrated Earth Week at Eight Cousin’s Books in Falmouth center. We shared our picture book entitled CAPE COD MEMORY MAKERS Explore the Town of Falmouth, with young children from various towns in Massachusetts.

Many children proudly wore their MEMORY MAKER buttons after purchasing their new interactive writing journal.

JOAN

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