The benefits of being a pantser

There have been books where I wish I'd have started with a definitive outline, one that plotted where my story was going and how it played out. There have been books where I had to stop writing in order to plot where the story was going because I was getting lost, or writing "blah blah blah" instead of anything that might move the story along. Being a pantser (defined as someone who writes by the seat of their pants) has its downsides. But then...

I'm working on my new book, and yes, I'm pantsing my way through it. I have a pretty good idea where I'm going and what comes next, but the mystery part has been hanging over me. I have a villain. And I have a red herring villain. Today, as I was trying to figure out what comes next--and I should have had this thought sooner, when I wrote down the motives and reasonable cause for the murder--I found yet a third potential villain, one that makes a lot of sense! 

Sometimes we write characters to fill space. Someone needs to be somewhere and they need someone to be there with. Oftentimes, those filler characters don't even get a name because they aren't critical to the story. Sometimes, they need a name because they're going to have a spot in the story later, or they will be a recurring character. Sometimes you just need to call them something other than "the other guy." Many times, I've discovered that if I've gone as far as to name the character, they need to have a reason to be there--sometimes, even to be the unexpected villain! This is when being a pantser is fun. You write things you didn't know you meant to write and they suddenly come together to make the story richer. Deeper. As if your brain knows before you do and sets the stage, just waiting for you to have that "a-ha!" moment. 

I just plotted my "a-ha" moment. Which makes me excited about the story all over again. Which keeps me writing. Of course, I've been pretty interested in this story from the beginning, so that makes it that much more fun.

Stay tuned for more information on Unidentified Remains!

Get that First Draft down

Every book I write I wonder if I've lost something along the way. Will this be as good as the last book? Have I covered all the bases? What am I missing? This doesn't feel right.

"A funny thing happened on the way to the forum." Well, that's the line that comes to me, at any rate. As I finished my first draft, I muddled over all the details. The story line. The back stories. Something wasn't quite adding up. 

That's what first drafts are for. In my mind, they're like a very detailed outline. Get the story down. It can take a whole book before you know your characters well enough to known what triggers them--both good and bad. 

Just when I was ready to believe this next book was going to be a clunker, I started going over some of the backstory in my head (not advisable to do this when you go to bed--makes it hard to sleep). I had the basics, sure. You can't write a story without them. But then more came through. I started to understand my characters. Why did they do that? What caused this to happen? And as is often the case with me, I went the long way around the block. Added way too many detours when the direct route was a much better option. Suddenly, the stakes were raised. The conflict was more intense. The resolution was more achievable. It made a whole lot more sense. 

Yes, I tend to research things that have no place in my book, or over research things that can be handled simply. It might make me crazy, but it also adds more dimension when I finally "see the light." I can cut out all the extra nonsense, but I have a deeper, more rounded sense of how I got there. 

So yes. Even Stephen King tells you to get the first draft done. You can fix it later. But until you get that first draft done, you haven't really gotten to know your characters. You don't really understand why they're responding the way they do. Instinct and intuition will guide you a long way, and you can lean into that later when you need to clean things up. Many times I find that I've laid groundwork I wasn't even aware of and everything comes together once things make more sense--once you've gotten "all the words" out. Yes, sometimes that leaves a mess to clean up, but at lease you've cleared the path to follow.

Sticking to the writing rules

I have critique partners who redirect me when I'm on the wrong path, who catch my errors through the writing process. We've been together a LONG time, and sometimes it's as simple as highlighting an error rather than pointing out why it's an error. I also have an editor who points out writing errors. With that being said, sometimes I argue my point. "It's in dialog, so it shows characterization." Or "it's there to call attention to what's happening."

I recently got back the audio for THE JANE DOE GHOST, and I sent back one sentence for her to redo. 

“Is that what you want?” I asked Laine. “What you think?” 

She read the sentence with "you" emphasized in the first sentence, and then the second sentence without much inflection. In my head, "you" should be emphasized in both. 

This, my friends is an example of redundancy. Elle and Laine are having an argument, and Elle thinks Laine's perceptions have been influenced by Laine's boyfriend. I did it deliberately, and I can argue the point all day, but as my narrator demonstrated to me, she missed the point, which is MY problem. As an author, I shouldn't have to point out my intentions. I should have made it clear to the reader. A reminder that redundancy isn't helpful. Yes, there are instances where it might make sense, but clearly this wasn't one of them. 

Sometimes, redundancy happens organically when I write, and I usually catch it in editing and remove it. In this instance, it was deliberate. Am I right? Am I wrong? Again, if I have to explain this to a reader (my narrator), it's wrong, and no amount of justification is going to make it right. Authors need to put their egos aside, "kill their darlings" sometimes. 

I've had books where I incorporated particularly "odd" phrases that I'd heard. Real life, right? My critique partners shot back with "people wouldn't say that." But they did! But if it doesn't ring true, I need to support why I've said it, let the character react to it and point out that yes, it's odd, but that's how it happened. You know the phrase, "truth is stranger than fiction?" Sometimes it works, sometimes it doesn't. 

Which circles around to "kill your darlings." Figuratively, of course. You've just written the perfect sentence, and the perfect paragraph to decorate it. You LOVE what you've written. It's PERFECT. The problem is it doesn't belong there. Maybe its expositive. Maybe it's irrelevant. Maybe it doesn't move the story along. DELETE. 

An author has to set their ego aside sometimes. Reading is subjective, and there is always going to be someone who doesn't like what you've written. You can take it personally or understand that one size doesn't fit all in this business. I've had that experience myself, where I read a perfectly good book and didn't like it, mostly because of my own personal biases. Constructive criticism is just that - constructive. Consider the source. Consider their expertise. Consider your ego. Consider your audience. 

So what did I do with my redundancy? Well, the book is already published. The audio is meant to reflect the book. Neither my writing buddies NOR my editor commented on this particular redundancy, and since I can justify my position, I asked my narrator to read it the way I heard it in my head when I wrote it. Maybe I'm right, maybe I'm wrong in this instance, but for this one time, I'm going to let it slide on through.

Jane Doe is making its way to the retail outlets! Check here to see if it's at your favorite.

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Best Laid Plans

I've been struggling with the writing this year. Not going to lie. There are so many distractions in the world that tug at concentration and emotions and all. If you've been following along, you'll know that because of this, I actually did an outline for the new book. It helps to keep on track, and on those days I sit down and have no idea where this story is going, it gives me direction. Except when it sends me the wrong direction.

I sat down this week and started a new chapter, then took the outline points to work from. Except they didn't follow on from where the last chapter left off. Folks, I'm a pantser at heart, I write from the seat of my pants. This is where I excel, and usually, those things that I make up all find a way to gel together, whether I intend them to or not. 

So here's what I started with. My characters are working together to unravel a mystery. Was it murder? Or was it suicide? In my outline, I have them meeting with suspects. Formulating hypotheses, and then getting together to compare notes. My last chapter ended with one of those suspect interviews, and in my outline, it jumps to one of the characters referring to a book for ideas on where to go next. The problem is that chronologically, the next chapter should be the comparing notes chapter. I've spent three chapters on one day, which is probably the limit on how long I can stretch this day out. What I don't need is more time with them apart thinking about what comes next. They need time together, time they PLANNED to spend together hashing out what they've learned. 

Excuse me, outline. You missed a spot. 

So I'm pantsing this next chapter, because logically I know what has to come next, and my choppy outline overlooked that. 

This might also be the right place to mention my outline only goes so far. I'd figured that if I got that deep into writing, I would find my groove and "roll on." In truth, that's probably true. I'm still struggling to write, but I'm far enough along now that I know where to go from here. I still have the outline to guide me if I get stuck (at least for a few more chapters), but the "flow" should carry me along from here. 

For those of you who think writing is easy... Nope. It's work. It's a job. Just like anything else. Unlike a regular job, the pay sucks, so you have to love what you do. I do. Which means I'm still plugging along. What can you do to help? If you like my books, tell a friend. 

The Joy of … Writing

A memory popped up on my FB page which reminded me how much I love writing, even when books don't go to plan. My editor often sends me the random comment or things like this this (I knew I liked her for a reason). When she sent me this, I'd told I was planning to title Epitaph 7 THE GARDEN and she said this popped into her head. (The story isn't anything like this fabulous So You Think You Can Dance routine, but it is fun to watch!)

Being an author can be a thankless job. These movies - they play out in my head and I don't seem to have a choice but to put them on paper - virtual or otherwise. Sometimes, it's an exercise to clear my head and sometimes I feel like I'm creating magic. Word Alchemy. For all the days I have writer's angst or imposter syndrome, there are times when I finish a project and read what I wrote and am shocked to have been able to create something I can be proud of. Something I enjoy reading. Rediscovering this memory made me smile and reminded me how much fun I had writing the Epitaph series.

I'm starting a new series, which makes me stop to wonder if I'm off the mark with my ideas (an inevitable part of being an author). Will other people be interested in my ideas? When I started the EPITAPH series, I met with an editor for a publisher I was trying to work with who loved the idea, loved the writing, loved the story. She got me all the way to the acquisition meeting before the powers that be told me ghosts wouldn't sell, that vampires were hot. As much as I've enjoyed vampire stories (the original Dracula is still one of my favorite books), that wasn't my sweet spot. I'd reached the end of the road with that publisher. Several years and seven ghost books later, I have no regrets sticking to my vision. 

So what's next? I've returned to the beginning. On my very first web page, I posed the question, "Imagine if you will..." (NOT an actual Rod Serling quote, although it's often attributed to him) "...a world of possibilities. Déjà vu. That dream you had last night is suddenly playing out during your waking hours. Have you ever had a moment when you were struck by the feeling there was more to what you see? Hearing a voice that you recognize, but you’ve never met that person. Seeing a shadow that no one else does, something just out of line of sight and you just know who/what it is."

The new series I'm envisioning is called "Suddenly Psychic," in which the main characters experience these unusual moments and aren't sure what to make of them. When such a moment redirects their lives. Sort of a return to The Twilight Zone, or Night Gallery, or One Step Beyond. Into the world of my imagination.

In the meantime, you can help support a struggling author by buying her books 😁 In case you're wondering what to buy an author for Christmas. I have two books you might enjoy this holiday season - MIST ON THE MEADOW, a sexy romance with paranormal elements, and WHILE WE WERE SHOPPING, a sweet "Hallmark" style romance that's a bit more fluffy. In newly released audio, you can listen to THE MIRROR, and coming in February, just in time for Valentines Day, is BREAKING THE MOLD, a romance set in the fictional town of Hoffman Grove, and a new addition to the family of friends.

My December newsletter will be going out this week, so make sure you're signed up to get a cookie idea and a book recommendation, along with a chance to win a copy of the new audiobook.

Ego versus Constructive Criticism

I recently read a post in one of my groups from someone who was concerned about balancing Ego with Criticism. She confessed to having "thin skin" when it came to criticism and asked for advice on how to deal with some she'd gotten recently. She has a few unpublished works, and admitted her education isn't necessarily as advanced as it might be. She asked another author for feedback on her current work, and when she got the comments back, she was "gutted." Her question? Is my work that bad? Is it my ego that's bruised or are my skills that deficient?

I've been at this job for 20 years professionally, and I can't tell you how many people over the years have commented on how easy writing must be. You just sit down and write a story and voila! You're done. Nope. Not quite that simple.

Taking a story from a point of inspiration to a finished product takes lots of hours and hard work. It means understanding sentence structure. Character goals, motivation, and conflict, as well as plot. Sometimes the stories are easy to write. They flow easily (despite the inevitable muddle in the middle), although there are some that require a lot more thought and craft. 

When I first started out "seriously," I did a lot of studying, took some extra classes. Thought I knew it all. Joined a critique group. Lovely people in that group. They were all very supportive and complimentary. Here's the problem with that. I didn't learn anything. I still remember a woman named Glee pointing out my "ing monster." But she never explained what that meant or why that was a problem. 

After a couple of years, a "real author" joined the group and immediately took me to task on one of my chapters over dialog tags. Well heck. Everything I'd ever learned told me to use descriptive dialog tags. Now, someone comes along and tells me they're too flowery? That I should use "said" because it's "invisible?" I didn't respond well at first, but then I considered the source. This was a published author. Published by a house I'd hoped to get into. She must know what she's talking about, right? So I reached out to her to learn more. Unfortunately, my knee-jerk negative response to her critique burned my bridges with her. She quickly realized she was in a group of amateurs. 

The good news is I met another author through that group and asked her for advice. That was the beginning of a years-long association, and I have learned SO MUCH from her and the other authors she introduced me to. The criticism was much more intense (read "ouch!"), but focused, and as much as I didn't like hearing that I'd screwed something up, that group also taught me what to look for and what to fix. I learned that "the ing monster" was a signal to check for passive voice. I learned to focus on filler words (like just) and common errors like "That vs. Who." I didn't lash out at the criticism I got, even when I didn't agree with it. I set my ego aside and actually learned something. As a result, I now have some well-written and professionally edited books that I can be proud of. 

I still get abrasive comments on my writing at times, and it still stings, but I now have enough experience behind me to understand when those comments are constructive and I should pay attention. For those comments I don't agree with, I now rely on my editor as the "final say" on whether they're valid or not. At the end of the day, you need a professional you can trust who knows what they're talking about, with industry and genre experience, to be the deciding factor on what is ego and what is a valid criticism. That, in and of itself, can be a challenge. My first attempt at finding an editor garnered one whose biggest criticisms were the names I'd chosen for my characters. For THAT reason, it's a good idea to have a sample edit before you sign a contract to make sure the editor will balance what they can do with what you need. 

Dialog defense

When I first started writing "seriously," my Dad asked to read my story. Since I didn't know what I was doing, I was happy to get another opinion. Two things he pointed out to me that stuck - one was "reverend." He told me it was an adjective (I was pretty excited to point out to my father who knew EVERYTHING that it can also be used as a noun), and grammar in dialog--there were very few things I was able to teach my father.

In fiction, perfect grammar goes out the window. Yes, you need to have "good" grammar (assuming your character should speak well), but it's more casual. More contractions. And when it comes to dialog, the characters need to speak naturally. Not in stilted "perfect" English. I don't speak perfect English, do you? 

One of my critique partners used to be a teacher, and when my Midwestern-ness comes through in my writing, she's right there to point it out to me. Likewise, another of my critique partners often points out certain things but includes a disclaimer that says "perhaps dialog defense, but..."

What are some examples? If you've ever read a book by @KristanHiggins, you'll note that she often includes "wicked" as an adjective. She's from New England where that word is frequently used, i.e., "Wicked good." Those not familiar with different American dialects might wonder at the usage, but as it isn't overdone, it becomes a character trait.

What are some of those Midwestern-isms? When you invite someone to accompany you, you'll ask "do you want to come with?" (those ending prepositions get us every time). Or there's "Ope." This is similar to "oops." And do you drink soda, or do you drink pop? I have to admit when I have my characters drinking soft drinks, I have to stop and think, until I consider where they live or where they are. (Or I go with Coke or Pepsi rather than strain my brain.) I had a neighbor from Pennsylvania, and she often would comment on being "nebby" (nosy). I get a particular kick out of the folks in the upper Midwest. When I told my mother I was marrying a man whose family came from further north, she immediately popped out a couple fun dialect words, like "boughten" bread, the "warshing" machine, "go down cellar." And a little to the west, where my sister relocated, you'll hear a lot more of that "ya, sure, you betcha" and "doncha know."

My sister-in-law recently sent this video to my husband. It's a fun example of dialog in certain parts of the country, substituting "Sheryl" for "Siri." 

The point is if your character is native to a certain location, their speech is going to reflect that. The trick is to not overdo the colloquialisms. In the prose portion of the story, the grammar needs to be tidy, but in the dialog, characters are going to speak like "regular folks." When you have a conversation with someone, you don't speak with perfect grammar. "That is true, what you are saying to me" becomes "That's right, what you're saying." And if your character is from Maine, you're more likely to here them saying "Ayup."

Well, you get my drift. Is there something you say that identifies what part of the country (or what country) you're in? (Eh, Canadians?)