Writing in a Whole New Genre- (Pros/Cons) My Personal Experience By Connie Vines #Writing Tips, #Round Robin, #New Genre vs Established Readership

 Topic:  The Wisdom and or Experience of Trying a Whole New Genre    

Thank you, Skye, for this month's topic.

I began my career writing nonfiction, short stories, and preschool games in magazines (Humpty Dumpty, Jr. Medical Detective, etc.). So, it was only natural to branch out into Y.A. historical fiction.

I assumed it would require extensive research, travel, and interviews.  

The challenge was adding more. More descriptions, additional characters, multiple plot lines, plot twists, etc. In other words, a storyline that was not linear. 

Historical documents, interviews with tribal storytellers, and interviews with those who attended Native American boarding schools.

This also required adapting my story to the reading levels of the Y.A. readership and their understanding of what I was explaining: the sensory details, the harshness of life, and the meals prepared. Was the information relatable to a child who watched television and had a microwave oven? 

I was blessed with beautiful book reviews and student letters.

I was proud of the book and its recognition: awards for historical accuracy, "Teen Read Selection" in Public Libraries, the G.A.T.E. program, and speaking engagements in Southern California.

Will I attempt another Y.A. historical novel? Probably not. 

This project was a five-year journey. The most discouraging part was the shrinking of the hardbound/paperback publishers. I signed a contract for a hardbound novel, but the editor pulled it when he learned the company was being sold. (I discovered later that he did me a huge favor).  

   

Spanish Version

English Version

The next growing market was women's fiction. I selected Contemporary Romance.

Did I hesitate? No, I decided to dive in. 

Setting? 

I have all this Western research material. My father's people were Texans, and I enjoyed Bull Riding events. My hero was a cowboy. My heroine lived in Montana; her late father was a Bronc Rider.

My plot, characters, subplots, setting, etc. I'm at the keyboard after the kids are in bed, writing chapters one, two, and three.

I reread and reread the chapters.

Something needs to be fixed.

This was the kicker. I knew something was wrong but did not know precisely what it was.

Was the flow? Word choices? Pacing? Or was it the tone?

I was residing in "The-Land-of-in- Between." And I need an intervention! 

Fortunately, I joined a critique with members of my local R.W.A. Chapter. We wrote in multiple genres (though I was the only one who started out in children's). We read each other's chapters, made suggestions, and brought revisions the following week.

I garnered a few rejections, made changes, and sent the story out again.

Then I received that "Phone Call" in February, and the book was released in July!

This book received multiple awards and excellent reviews.

Will I change genres again? I've branched out into Romantic Suspense, RomCom/Paranormal. At the moment, I'm writing several novellas, and I've begun another romance series. I may write a Cozy Mystery novel or a Western Gothic (only if I don't cause myself to experience nightmares!)

The emerging genres seem to be Worldbuilding, Horror, "Bad Mothers," Science Fiction, Western Gothic, Foodie Romance, and Fratito. However, this could change next month.

If you want to write in a new genre, look into it. Examine the market and see what is trending. If you are selling novels and have a following, you're good. 

If you still want to change, consider a nome-de-plum. And see how it goes.

Good Luck & Happy Reading,

Connie 

XOXO

Follow the links! These Talented Authors have much to share!!

Dr. Bob Rich: https://wp.me/p3Xihq-3jJ 

Anne Stenhouse: annehousenovelist.wordpress.com 

Connie Vines (you are here)

Skye Taylor: https://www.skye-writer.com/blogging_by_the_sea

  

 

DON’T BE SCARED - WRITE THAT THRILLER BY RITA KARNOPP

Have you ever wanted to write a thriller, but the thought scared you?  Where do you begin?  You want to surprise, even shock your reader . . . it’s all so daunting!

Ask yourself, “What is the driving force for my story?”  For example:  One-by-one members of a gold expedition are dying?  Is it something they ate or have they all been exposed to a deadly virus  . . . or is there a killer among them? 

Give your character license to be good and bad . . . and remember we aren’t perfect – and neither should your characters.  They must make mistakes – and learn from them. 

“You’re looking for a character who’s got the absolute most at stake, and that’s the person who you want your story to be about.” Move your story along by developing your character, chasing the plot, and showing change, challenge, and growth.

Think of plot as a volcanic pit crater – which you drop your character – along with many strangers and/or old friends.  Once they’re inside you can’t have them simply climb out—you should have the mountain shake and cover the entrance with boulders so your character has to figure out how to help everyone safely escape.

Then ask yourself, “Who can my character trust?  Who might he develop a relationship with or even fall in love with?  Who is getting in his way?  Is there something unearthly down there?” . . . it goes on and on. 

Before you know  . . . there are more frightening things going on than you could have imagined!  If it’s scary to write – it’s scary to read!

JUMPSTART AND GET WRITING BY RITA KARNOPP

“So you have such a positive attitude, how do you give yourself a jumpstart to get your butt in the chair and get writing?”  The other day I was asked this question, and I decided it would be a great blogging subject.  How do we push ourselves into our offices to write?  Heaven forbid there are enough distractions and other things you could be doing – besides sitting in your quiet office, all alone, with your thoughts and a white screen staring back at you.  Exactly how do we give ourselves the strength to say it’s time to write?

I truly believe writers are special people.  Yep we truly are!  I think the hardest things for us are our other responsibilities.  We have family, friends, housework, the JOB, yard, cooking, shopping, and of course church (in my case) and the hubby.  The list goes on and on.  In between all those responsibilities and distractions we must ‘make’ the time to write. 

I don’t know if you’re like me – BUT – the other ‘stuff’ must  be done in order for me to concentrate on what I really want to do, write.  It’s not a hobby or what I do for fun.  Let’s face it, we love to write – but it is work.

So I need the house clean, the dishes done, the bills paid, and even my office must be clean before I can sit in front of my computer.  Now that’s a bit easier these days since my kids are out of the nest.  J   But I started writing when my kids were three and five+ so there you have it, I understand it both ways.

I don’t recommend three cups of coffee so you feel awake – that will just give you the jitters and make you feel unsettled.  A nice glass of ice water (or flavored – no calorie water) is what I recommend.  Get it right away so you don’t have an excuse to ‘leave’ your office and get side-tracked.  Yep, I know all the tricks … or mistakes.  You might even fix yourself a plate of celery sticks, carrot sticks, or even pea pods so you don’t get those chocolate cravings.

If you tell yourself you ‘should’ be writing, yet you’re sitting on the couch trying to muster up the energy and drive to go write – ask yourself one thing – “What is my deadline date?”  What?  You don’t have a deadline date?  That is not good!  You MUST have goals and deadline dates or you’ll never accomplish what you want in life.  That doesn’t just apply to writing, but in this case it does.

You need to sit down and look at your work in progress and answer these questions:

·         What genre am I writing?

·         World count for this work?

·         How many chapters will I have?

·         Now- how long will it take me to write a chapter?

·         Add a month in for unexpected distractions/responsibilities.

·         What is my writing schedule?

·         Finally – what is the deadline date to finish my book?

You do this one thing and I guarantee you’ll get more books written than you’ve ever done before.  I always correlate it to this.  If you’re planning to go on a trip to Montana, you know you’d get maps and plot it out, you’d look at places to stop along the way to enjoy, there are hotels, costs to estimate, car to get in shape for the trip, etc.  If you just jumped in your car you might end up in Alaska!   Well, planning to write your next book is pretty much the same thing. 

Don’t treat your writing like a ‘hobby.’  I hate it when people say, “that’s such a nice hobby.” I stop them and say, “This isn’t a hobby - it’s too much work for that.  Writing is my passion and I do it because it’s something I love and it gives me a feeling of accomplishment.  Don’t accept negativity – it’ll start making you feel negative – and you’ll start treating your writing like a hobby.  Once you start doing that, you won’t have the drive and excitement to go to your office and write at all.

Think about your story while making breakfast, working at the office, going for your daily walks (or like me up Sander’s Hill twice a day during my breaks – it’s a humdinger).  Work out ideas, plots, and twists before you even get to your home office.  By the time your ‘scheduled’ writing time approaches – you’ll be raring to go and you’ll be itching to sit down and start typing.

Get your background music going and you’re READY!  One thing I always do, to get myself back into my story, is to read the last two pages I’d finished from the day/night before.  This helps me get into the characters; where are they, who are they talking to, and what is their current situation?  That way I can continue without missing a beat from where I left off.  Next thing you know – two hours have passed and you’re shocked how many pages you’ve just finished.   When you push away from the computer you’ll have a feeling of satisfaction and pride.  You’re suddenly anxious and excited to write again tomorrow!  You can do this . . . day after day.  Oh – and book after book!  J

You can find Rita Karnopp at:

             (email)       ritakarnopp@bresnan.net

             (publisher) http://bookswelove.net

Check out Rita's Whispers of the Native Soul Series
     
Whispering Sun ~ Whispering Wind ~ Whispering Spirits
        

CREATE A BACKSTORY INTO YOUR NOVEL BY RITA KARNOPP

My first thriller, Atonement, opens with a serial killer and his victim . . . letting the reader into his world and mind.

     He bent her fingers back . . . all the way back. It cracked loud and final.  He shuddered with excitement and anticipation.  She cried for forgiveness, but the duct tape muddled her words and screams.  He hated tears.  How useless.

     He slid the sharp, long, Bowie knife from the sheath on his belt.  A jolt of excitement shot through him. He preferred using a larger knife on bigger fingers.  How could he not enjoy the feel of the heavy righteous blade in his hand? The worn leather handle fit his palm. It was meant to be his.  Happiness filled him for the first time in weeks.

     Now he’d take his time.  He’d hold back and savor the moment.

    

Who is this killer? What reasoning drives him to cut his victims fingers off? What has happened in his past that would give him fulfillment from such an act?  I won’t answer those questions in my opening pages. Why not? Because I want to reveal the answers in the backstory.

Backstory has been described as a set of events created for a plot, offered as preceding and leading up to that plot. It’s a literary device of a narrative history all chronologically earlier than the narrative of primary interest.

I think what they mean is it’s the ‘baggage’ of our life up to this point.  A backstory shares key elements— that may be depicted and revealed in a novel —affecting timing, reaction, input, support, and even shock value.

Backstory helps to corroborate the setting as well as events and makes the reader care about what happens to the characters.

But be careful: Backstory by definition takes the story backward and when you think about it – then it halts forward action.  No matter how careful you are – when that story screeches to a stop . . . your reader may decide to stop reading.

Too Much, Too Soon -  Too much backstory in the opening pages can be the kiss of death.  I always resort to the comment, “No one waits for the action to begin.”  Writing  page after page of backstory at the beginning to set-up the story is not a good idea.  I know you’ve read them - you have to force yourself to keep reading – because you’re convinced the information must be important.  I will actually start skimming – waiting for the story to begin.  This is not a good thing to have happen in your story.

Then there are the books that get off to an exciting start and just when I’m totally vested . . . the story stops to feed me backstory.  What??  I’m frustrated and anxious to find out what happens…and you’re making me wait???  No!

Guess what?  There is plenty of time throughout the book to feed in information the reader needs to know about your characters.  Keep that story moving forward – make the reader turn those pages.

If you find yourself typing backstory and it seems to be going slow . . . guess what . . . it feels the same way to your reader.  A good rule is sneak background in a little at a time without halting the flow of the story. 

Timing Is Everything – So how do we sneak that backstory into the novel?  As I mentioned– it must be weaved, dropped, or told a little at a time that best serves the story.

One of the best things I was told as a new writer was, “Remove the first chapter of your book.  This is where your book should start.  Is it exciting – filled with action and dialog?  If the answer is yes, start the book there – and weave the ‘backstory’ into the story as it evolves.”  That was some great writing advice.

As we develop our story – we explore who our characters are and what they want or are planning on doing.  But we need to get to know their past in order to know what their future holds.  That doesn’t mean the reader has to be told this ‘backstory’ all in the first chapter.  And remember – if the reader doesn’t know everything right away – you have the ability to keep them guessing - what is making him/her tick?

Ask yourself, what does my reader need to know?  Not everything in a person’s life is important to share with the reader.  If it doesn’t further the story or share something important about the character’s personality – leave it out.

I read in an article once, “In almost all cases, if it’s backstory, it needs to be cut.”  I typed that up and posted it on my office board.  It’s a great reminder – don’t get caught up with information overload.

Wow – I guess that pretty much sums it up.  When you think about it - no matter where we begin our stories, there’s always something that came before. What does the reader need to know?  Hold details back as long as you can.  Give that backstory a little at a time and you’ll keep your reader in the present . . .  turning the pages for more!

Have you read Rita’s 17th book, Whispering Spirits (Whispers of the Native Soul Book 3) [Kindle Edition]

 http://www.amazon.com/dp/B00Q3UHVEY

   Devastated by her boyfriend’s murder, Summer Timber Wolf, Niipo Ómahkapi'si, goes back to Browning, Montana to take care of her Blackfeet grandmother.  That choice finds her living in the ways of the old ones in a tipi on the shores of St. Mary’s River in the shadow of the Chief Mountains.  Her Nah’ah tells her to listen to the whispering spirits of her ancestors.  They are her shield, her past, her present and her future.  Summer, however, is not so easily convinced.

   It doesn’t take long before Summer realizes they’re not alone.  Has her boyfriend’s killer found them?  To protect her grandmother, Summer trusts their scout and protector, Cameron Running Crane.  Soon she doubts her decision and wonders if he’s the kind of killer we instinctively fear the most; a loved one.

   The truth will be revealed in time . . . what she doesn’t know is who will survive.

Email Rita at: ritakarnopp@bresnan.net

PLOT LIKE YOU MEAN IT – CON’T. BY RITA KARNOPP

Keep in mind your plot can be event or character driven.

Event Driven ~ Plots that are event driven development and progress due to the setting, action, mood, tone, and your character's response and outcome. It’s interesting to realize that your protagonist doesn't need to change or grow.

Character Driven ~ This one is easy - all actions, incidents, and even complications evolve from relentless or steady changes within your character. If your character is determined, obsessed, and focused to make things happen, they will probably happen.

What plot essentials will ensure a good plot?  We’ve heard this before - they are problems, complications, and resolutions.

Problems ~  

Man against society ~ Your protagonist sees the world differently from those around him.

Man against man ~ Simply two rivals who are totally different from each other.

Man against himself ~ These are the psychological stories. The inner struggles of a protagonist must choose a specific path.

Man against nature ~ The protagonist must save the town from torrential floods, slay the dragon, or find the lost child in a blizzard.  Your disaster stories.

Complications ~  Nothing is more effective than complications to make a plot interesting.  Problems are the beginning, and complications make it worse.

Remember:
1. Things must appear as bad as possibly, and then exacerbate.
2. Complications create change.

Resolution ~  Simply – it’s the way you wrap-up your plot. Consider these three main resolutions to your story.

Protagonist wins ~ Most used and preferred by reader and writer alike, because we’ve been invested in what happens to him/her from page one.

Protagonist loses ~ This is slightly difficult to pull-off, since you don’t want to disappoint your reader.  A great example of this resolution is Pompeii. (Which I loved and hated at the same time – I knew it wasn’t going to end well . . . but I had to keep reading!)

Even though the protagonist loses, make sure he/she becomes a better person even in defeat.

Antagonist wins ~ A reader will rarely accept the antagonist winning.  An example of one that is accepted is Dexter.  He’s a ‘bad-guy’ who has learned to apply his evil urges to do good, giving the audience a sense of satisfaction.

When plotting always keep in mind a clear beginning, middle, and end.   Have fun and be creative, sensitive, evil, kind, loving, hateful, etc.  Make your readers expect the unexpected and they’ll buy every next book you write.

WORLD OF MOTIVATION BY JASON GRACIA -MOTIVATION123.COM (hi-jacked)

In the world of motivation, tens of thousands of words have been thought up, written down, and spoken out on the subject.

But it actually comes down to just four.

What is your Why?

That's it. That's the source of all motivation, no matter the hope, goal, or dream.

When you know your Why--the reason you are after what you're after--you have the engine of action at your fingertips.

Many of my readers and clients know what they want; they've spent years crafting the vision in their minds.

But when I ask why they want it, few know. Hence their lack of motivation.

I want you to tap into your Why, not the surface ideas such as more money or less weight, but the core reasons beneath your needs and wants.

What are you truly after? What will success bring into your life? How will the future change for the best after you've achieved your goal?

What is your Why?

SUPPORTING CHARACTERS BY RITA KARNOPP #supportingcharacters

There is nothing more endearing than a great supporting character.  I think of the movie Sahara where Matthew McConaughey’s (Dirk) humorous side-kick Steve Zahn (Al) added so much to the story, you loved him almost as much as you did the lead.  We all recognize Scotland Yard Inspector, Holmes and his incredible sidekick Watson. 

Supporting characters are the sounding board, the foil, the spark that allows the leading character to share information with the reader.  Don’t you just hate it when characters talk to themselves?  What a cheesy way to explain what’s happening in a scene or to express internal conflict.

Supporting characters create balance and sometimes unbalance in a story.  A good use for a sidekick is the friend or co-worker who doesn’t let the main character(s) got too full of himself, or go over the edge and murder the man who killed his wife.  The counterbalance supporting character, like a wife or child, will show the hardened policeman in a different light.

I’ve heard it say, ‘sidekicks are the yin to the protagonists’ yang.’  That works for me and reminds me the main character(s) need someone to bounce their concerns off, to give comic relief, or to be that one person that will make your story believable.  When creating sidekicks just think opposites and you’ll be right on track.

You can also choose sidekicks that are annoying, tormenting, and generally a pain in the butt.  What kind of characters are these?  Say the over-protective and caring mother.  How about the co-worker who is jealous and is constantly trying to belittle the protagonist?

Conflict keeps your story alive and supporting characters can provide all sorts of

stimulating or multidimensional problems that can thwart, obfuscate, and even mystify the protagonist.

In many instances your supporting character is also the adversary who needs convincing and even support throughout the story. With a challenger or rival in the story, the sleuth has opportunities to dispute, struggle and typically reveal his grit, cleverness, resourcefulness, cunning, and also skill.

So who is the supporting character?  He/she can be anyone in your main character’s life; wife, a friend, neighbor, co-worker, bartender, even pet.  Your supporting character adds dimension to the story by adding more threat or risk, and maybe even the possibility of becoming a suspect.

Just like main characters, supporting characters come with flaws and baggage of their own.  It your protagonist has children, who is taking care of them while he/she is out searching for a killer?  Again, if you have a pet- they have to be fed and watered as well as taken out for potty breaks.  An invalid mother needs a caretaker.

If your supporting character is important to the story, make the reader believably care or hate them, but don’t stereotype them to the point of boring or making them obvious players.  Flesh out their characters so they’re integral to the story as well.

Supporting characters should never become as important as the protagonist.  They are supporting cast – always keep that in mind.  They are there to compliment, not clog the story up with their issues and opinions.

Minor characters should never make a splash when introduced into your story.  Minor characters are just that.  You don’t have to introduce the waitress or the bar tender if they play no larger role in the story than to serve food or drinks.  They are in your story to add texture and realism and nothing more.

Remember, your supporting characters are just that – supporting the main character(s) to facilitate the plot and keep the reader turning those pages with increased intensity.

IT’S A FACT BY RITA KARNOPP

Getting your facts straight is as important as great pacing and dialog.  All your reader needs to do is find is one fact they know is false – and they’ll put your book down faster than a hot handled-skillet.

Yes, editors catch some of these, but it’s not up to the editor to check for historical facts, gun specifics, or even when a ballpoint pen was invented. (The first patent for a ballpoint pen was issued on 30 October 1888, to John J. Loud, a leather tanner, who was attempting to make a writing instrument that would be able to write on his leather products, which then-common fountain pens could not.)

You should never consider referring to experts as ‘most’ or ‘the majority’ instead of presenting actual percentages or specifics.  It’s more effective for the attorney in your book to say, “Medical experts will agree that in ninety percent of all rape cases. . .” instead of saying, “Most will agree that in a high percentage of rape cases. . .”  Assumption is the root of all mistakes.  It’s truly laziness to write in generalities than specific facts.  Years ago it took a lot of time to find facts; it took book after book.  Today there’s no reason for the lack of facts – the internet is at your fingertips. 

Keep this in mind; if you make historic or general fact errors you can be pretty darn sure a reader won’t buy another one of your books.  Why would you do this to yourself?

If you’re the kind of writer that doesn’t want to stop the flow while writing, mark areas you want to go back and check facts later.  It’s as simple as that. 

You can expect an editor to catch many things while reading through your manuscript, but don’t rely on them to catch the simple things; spelling, lack of quotes, using wrong word, misspelled names, etc.  You, the author should submit the best-written book you possibly can.

Having said that, you also should never rely on your editor to make sure all your facts are correct.  That’s your responsibility.  If they catch a fact error, you’re one lucky author.

So let’s consider the comment, “It’s fiction and I really don’t have to worry about specific facts.  It’s all make-believe.”  With that attitude you should stop writing.  A reader knows a novel is fiction – they pretty much mean the same thing – but that doesn’t mean you can take liberties with historical facts.  Just the opposite is true.  If you want to create believable characters and plot the best way is to create believable scenes and facts surrounding your story.

Here are some guidelines you should follow every time you write a story. . .

·         whether you set the facts straight as the story unfolds or

·         after you’ve finished the book and are working on your first edit and are smoothing all those rough edges. 

1.   Spell check.

2.   Double check all historical facts with multiple sources.

3.   Be specific; what kind of tree, flower, horse, treaty, etc.

4.   Write tight – not every bit of interesting information you’ve found must be included in your story.

5.   A pet-peeve of mine - watch those long sentences.  I’ve read books where each paragraph has turned into a long sentence – with commas for pauses.  Say what?? 

6.   And finally, have your facts straight.