I’m always curious when a book becomes a phenomena. Twilight, by Stephenie Meyer, is such a novel. I bought it to see how the story ‘works’ to draw in its audience from the opening lines. In these notes I’ll begin by breaking down the novel’s opening preface line by line.

First line,

I’d never given much thought to how I would die–though I’d had reason enough in the last few months–but even if I had, I would not have imagined it like this.

This is pure drama, which I define as an anticipation of an outcome. There are many dramatic questions here.

Why did the narrator have reasons to imagine his or her death?

What kind of death is the narrator facing, that he or she couldn’t have imagined it?

What situation does the narrator find him or herself in?

Where is the narrator?

To get the answer to these questions, the reader has to read the next sentence. That is the prime responsibility of the first sentence of a novel, that a reader be compelled to read a second sentence. That’s why this kind of mysterious first sentence is often seen in popular novels. A first sentence that is not compelling becomes a first step in a reader disengaging from a novel. I teach that it’s three steps and the reader is gone.

There’s a difference between a dramatic question and a question. ‘Would I die today?’ is a question, but it’s not a dramatic question like the first sentence above. When I try and teach some writers the art of a good opening line with dramatic questions, some people respond by framing ordinary sentences as questions.

Second paragraph, second sentence,

I stared without breathing across the long room, into the dark eyes of the hunter, and he looked pleasantly back at me.

This begins to suggest a place, ‘the long room,’ while raising the question, why a long room?

Where is this room? It also raises the question, who is the hunter? Why does the hunter look ‘pleasantly’ at the narrator who, based on the first sentence, would appear to be facing death from the hunter? Or not. To get the answer to that question, the reader has to read the third sentence.

These two sentences have set up a process I call question, answer, question. The first sentence raises questions, the second sentence begins to answer those questions (who or what is threatening the narrator with death), while the answer to the question (the hunter is threatening the narrator) simply raises another question, who is the hunter?

This question, answer, question process creates an on-going hold on the attention of readers, and also creates forward movement that pulls the reader ahead. When the opening to an unpublished novel lacks this process, the sentences are often a collection of details describing a time, place, or character. Such statements operate as statements: this is what so-and-so looks like; this is what this place looks like. The risk is that such statements lack drama — there’s no anticipation of an outcome. There can be an anticipation of an outcome based on the appearance of a character, but when there’s not, the opening pages of a story can be the weakest writing in an unpublished novel.

A literary agent or editor reading the above two lines would be immediately aware that this is a novel written by a storyteller.

Third paragraph,

Surely it was a good way to die, in the place of someone else, someone I loved. Noble, even. That ought to count for something.

Many more questions here; more ‘pull’ on the reader.

Why is the narrator ready to die in place of someone else?

What makes that noble?

Why is it important to the narrator that this noble act ‘count for something?’

What has the narrator done in life that he or she needs to balance the scales?

Fourth paragraph,

I knew that if I’d never gone to Forks, I wouldn’t be facing death now. But, terrified as I was, I couldn’t bring myself to regret the decision. When life offers you a dream so far beyond your expectations, it’s not reasonable to grieve when it comes to an end.

This begins to answer the question, where is this story happening (Forks), but that answer raises another question, where is Forks? Why did the narrator go to Forks? Why does the narrator not regret the decision, which could lead to his or her death? How did this journey to Forks become this grand fulfillment of a dream for the narrator?

Last sentence of preface,

The hunter smiled in a friendly way as he sauntered forward to kill me.

More questions. Why is the hunter so friendly?

So relaxed about killing someone?

To get answers, readers must turn the page and start reading chapter one.

This preface is designed to have the maximum impact; to raise many questions while providing a few answers. The pace of the story does slow with the first chapter, but the hook has already been set.

Excellent story mechanics.

© Bill Johnson

Bill Johnson is the author of A Story is a Promise & The Spirit of Storytelling, now available on Amazon Kindle.

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How do you design your characters? Some sources recommend filling in a questionnaire or CV. You need to answer questions like “what is her favourite film?”, or “what does he drink?” etc. This doesn’t work for me, because by the time I know the answers to those kind of questions I have written my novel.

I design my characters in the same way you might find out about someone in real life. When you first meet someone new, you form an opinion based on appearance, circumstances and other immediate evidence. As you get to know them, more evidence is revealed to you and your opinion of them may change. Eventually you might discover a dark secret that completely changes your view of them. If you know someone for a very long time, their character may change as a result of their experiences, which may also change your view of them.

This is how I design characters. I usually start with a mind map:

http://en.wikipedia.org/wiki/Mind_map

I love drawing mind maps, and I often use them for note taking when I’m in a boring meeting or presentation (I also create characters, plots, settings etc in meetings using mind maps, but don’t tell my boss).

I put the character’s name or role in the middle of a blank page, then I add 4 radiating lines (see link above for good explanation and method). I might label each line; name, motivation, description and events. But I use many other things for labels depending on my need at the time like; background, job, relationships with other characters, romance, ambition, fears, etc.

I like to draw images and use colours in my mind maps. You can buy software to help you draw mind maps but I like to use pen, pencil and paper, because I find it is more creative for me. I’m not creating a work of art. I’m not doing it to show to anybody else. Drawing a mind map is both a creative process (it helps my imagination) and a record. I keep them as a reminder, aide-memoire and stimulation.

As I write my novel I might do more than one mind map of a character, because, like in real life, I am learning more about the character as the story develops and more evidence is revealed to me. So just before an event in a story I might think “how are these 2 characters going to be involved in the event?” I get out mind maps I have already drawn for them and I draw new mind maps specifically for the event and the 2 characters. This often helps me to solve problems like “how do I get them both there at the same time?” etc because I am very creative when drawing mind maps.

That’s it. I make characters up as I go along using mind maps to help creativity and to record my ideas. If I was writing a series with the same characters, I think I might redraw the mind maps after each book as a record of each character’s role in the book so that I don’t forget.

How do you design your characters and record them? Do you use questionnaires, CVs, data cards, databases? Please feel free to comment or ask questions.

Illustration by Mindmapper4 (Own work) [CC-BY-SA-3.0-2.5-2.0-1.0 or http://www.gnu.org/copyleft/fdl.html GFDL], via Wikimedia Commons

When my sisters and I received the news that our debut mystery novel, Liar, Liar was to be published, we popped the cork off the champagne we bought the day we wrote the first chapter. We called everyone we knew and some people we didn’t. We fantasized about writing a blockbuster sequel on a tropical beach next to Janet Evanovich where hunky waiters serve fruity drinks with paper umbrellas.

The glorious illusion lasted a day or two. After that, we learned some hard truths we should’ve known when we bought the champagne. Here are five of them.

1) It’ll take 10X more time to market your mystery book than it took to write, edit, and argue with the publisher

Forget the paper umbrellas. Chances are you’ll pound the pavement promoting your first mystery novel while you write your second.

As novice mystery authors, we thought the publisher would aggressively promote our book for us. (We pause here while they laugh.) Publishers have limited funds and lots of books to promote. However, they’re immensely supportive and possibly the best resource you have. Always remember you are your book’s most passionate publicist and advocate.

Put the tropical beach on hold and enjoy this part of the writing process. In the end, your marketing skills will prove as critical to the success of your book as your ability to write well.

2) Begin promoting your book early in the writing process.

That would be day one. Do everything you can to become market savvy. Introduce yourself to your local book-vendors and librarians. Become part of a group of writers who support each other and share publicity strategies. Create a list of media targets with contact information. There’s a huge market out there and you’ll want to develop your marketing plan early.

3) Write Write Write.

To get the best media coverage, you’ll spend a lot of time writing press releases, newspaper articles, promo blurbs and pitch letters. You’ll write answers to interviewer’s questions and something you can say at book signings. You’ll probably launch your own website, blog and maybe even tweet. You’ll want to sell your book in a paragraph and you’ll need an elevator pitch that sums it up in a few boiled down sentences. This may not be the kind of writing you think you were born for but if you’re creative, you can make it fun.

4) Create a mailing list database.

Dig deep into your past and blow the dust off some old friendships. Make a list of business acquaintances, schoolmates and people you knew when Clinton was President. Then log on to Facebook and hunt them down shamelessly. They’ll be glad you did. Let them know you’ll send a press release as soon as your book arrives in bookstores.

5) If you’re shy, get over it.

Marketing a book requires a certain amount of courage that doesn’t always come easy for three rather shy Norwegian sisters. Our family and friends support us by wearing tees and sweatshirts that advertise Liar Liar. We pass out bookmarks to unsuspecting strangers and suggest they read the first chapter on-line. More challenging marketing efforts can make our palms sweat. If cold calling reporters and producers is hard for you, do what I do. Pretend you’re one of the characters in your book. Hopefully you wrote a ballsy one.

There you have it. It’s a hard road, but one well worth travelling. Now good luck and get writing!

This article is contributed by Kari Larsen from the 3 Sisters Mysteries team. She works together with Julianne and Kristen Larsen on their Cat DeLuca Mysteries. You can find more about 3 Sisters Mysteries by visiting their website at http://www.kjlarsenauthor.com or http://www.3sistersmysteries.com

Article Source: http://EzineArticles.com/?expert=Kari_Larsen

What is your most recent book? Tell us a bit about it.

ORDINARY WORLD is a sequel to my first novel, FAKING IT, and the story picks up five years later. Andi has the life she’s always wanted – she’s a tenured professor living in New England with her husband – but tragedy strikes and her whole world is turned upside down.

Tell us something about yourself.

I grew up on Long Island and am the youngest of seven (five brothers – one of whom is my twin – and a sister). I was kind of a jack-of-all-trades until I went back to school in Massachusetts in 1995 (got my bachelor’s and master’s degrees back-to-back, and lived there for 11 years before relocating to North Carolina), and went on to begin a career teaching rhetoric and composition at the college level.

I’ve been writing all my life, but had never considered myself a fiction writer until I had this idea for a novel that wouldn’t go away. I wrote the first draft of FAKING IT in 2004, and the dam broke after that!

What inspired you to write this book?

I knew Andi’s story wasn’t done when I finished FAKING IT. I started writing ORDINARY WORLD shortly after the fifth anniversary of the September 11th attacks, so that was on my mind, and had been thinking about a relationship that didn’t work out the way I’d hoped. So a what-if went through my mind for Andi: What if Andi had everything she ever wanted only to lose it all in a flash? How would she recover from that? It wasn’t just about loss, but letdown.

The Duran Duran song of the same name is one of my all-time favorite songs, and one that I have always turned to when I experience loss or letdown. The answer to my question came in that song, and hence, the rest of Andi’s story.

How does ORDINARY WORLD differ from FAKING IT?

FAKING IT is a romantic comedy, while ORDINARY WORLD is more of a “dramedy”. It certainly has its comedic moments, even in some painful situations, but the story and characters contain much more depth and complexity than the first novel. I think I also became much more confident and mature as a fiction writer, and was relying less on what I knew and more on what the characters where telling me. I’m proud of both and love them in different ways, much like a parent does her children.

How did you publish this book? Why did you decide to self-publish?

I independently published through Lulu.com. I had queried some sixty agents for FAKING IT and got rejections (albeit some very positive feedback with some of them). However, I was confident in my story and that there was an audience for FAKING IT. After some research, I decided to go the independent publishing route, and came in at the perfect time to ride the wave of online social networking, which has been a godsend. Since I did well with FAKING IT, I decided not to query at all for ORDINARY WORLD, but will likely do so for my next novel.

In addition to Lulu.com, I also published my novels on Amazon Kindle, and am having tremendous success there. Publishing on Kindle has given me a readership and a following.

How did you know you wanted to be a writer? How did you get started?

I don’t think I ever wanted to be a writer; I simply was a writer. It was something I knew instinctively about myself very early on. I had a rather turbulent adolescence and pretty much wrote my way through it, but didn’t show a single story to anyone (still haven’t).

I had a hard time finding a profession in my twenties—it wasn’t until I got into graduate school and began teaching that I found my passion. By then I was writing creative nonfiction and immersed in a lot of rhetorical theory (which shows in my first novel!), but knew nothing about writing fiction or getting published. I got the idea for FAKING IT in 1999, and dammit, the idea wouldn’t go away. I finally wrote the first draft in 2004, and didn’t seek publication until 2006, when I moved to North Carolina and met an author who took me under his wing and showed me the ropes (namely, how to query an agent).

What do you believe is the hardest part of writing?

Getting started! I hate that blank page. I’m afraid I’ll never be able to write anything good ever again. I often have to psych myself out by actually writing on the page “It’s ok if this first draft stinks” (ok, I use a bit stronger language, but you get the idea). It’s a trick I’ve shared with my academic writing students, and some of them have found it really freeing.

Once I get going, I’m ok until revision. I’m a big fan of revision—it’s can be a lot of fun, and I can get really into it, but it’s also the blood, sweat, and tears of writing. I hit road blocks there sometimes that can be really tough to get over. It’s always an irrational fear that I’m really not that good after all.

How do you do research for your books?

I write a lot of what I already know and/or like. I especially relied on this for the first book because I didn’t think it was going to be any good (or that anyone was ever going to read it). At the beginning, Andi was so much like me: Long Islander relocated to New England; rhetoric-composition scholar; Gen-Xer; Yankee fan; Italian heritage; overprotective musician brothers, etc. She even looked a little like me. Those details helped me get underneath the surface and to the truth of the story that needed to be told. Many people think the novel is autobiographical, but it’s not. It’s her story, and her experience. By the final draft Andi came into her own, especially when I wrote ORDINARY WORLD.

There were some things that needed additional research, however. I had been an art major in high school, but had forgotten a lot. So in addition to taking out some books, I asked one of my former students (who was an art history major) to help me with Devin’s knowledge of art. For the travel scenes in ORDINARY WORLD, I asked some friends who had visited Italy and Peru for details and descriptions (I confess that I also consulted Wikipedia). One of the best compliments I got was from a friend who had lived in Lima for about three years and said he got “homesick” after reading my chapter.

Did you learn anything from writing this book? What?

My twin brother had read the first couple of chapters in their very early stages and wrote a comment that was so profound I put it into the mouth of one of my characters: A major loss conjures up all other losses in life. I grieved right along with Andi at certain times during the writing of this book. There are scenes that still make me choke up, as well others that make me laugh out loud.

Earlier this year, I met a man who was a recent widower, had read and enjoyed FAKING IT, and wanted to read ORDINARY WORLD. I warned him about its content, worried it would be too much for him. He was quite moved by the story and told me that I was “spot on” with Andi’s grief. It was the best feedback I could have received. I’m always deeply touched when readers share their personal stories with me, and how my books have touched them in some way.

I also learned that I was officially a novelist, and wanted to tip the scales to the point where I could sustain a living from it. I’m still working on that goal. I still love teaching; I just want to eventually do it on a part-time basis.

What are you reading now?

The Other Side of Tuscany, by my friend Nancy Stolfo-Corti. It’s a very powerful memoir. During my 12-hr road trip to Long Island for Christmas break, I listened to Lucia, Lucia by Adriana Trigiani, which I really enjoyed. And before that, I read Steve Hely’s How I Became a Famous Novelist. Absolutely hilarious, laugh-out-loud novel.

What types of books do you like to read? Who are your favorite authors? Why?

I tend to be a creature of habit when it comes to books and authors. Once I find an author I like, I read everything they’ve ever written, repeatedly. I go more for popular fiction than literary fiction, and I love authors (and characters) with a witty sense of humor. I’m also drawn to good stories and prose that plays with language but is not too literary in style. My favorites are Richard Russo, Marian Keyes, David Sedaris, and Bill Bryson, to name a few. I also like Jennifer Weiner and Nora Ephron a lot. My favorite writer of all is Aaron Sorkin, best known for A Few Good Men and The West Wing. One of my strengths is writing dialogue, and I have Sorkin to thank for that.

Are you working on your next book? What can you tell us about it?

I’m co-writing my third novel with, believe it or not, the former student I mentioned earlier. I happened to mention this idea for a novel, and she begged me to co-write it with her. We had collaborated on a draft for a screenplay version of FAKING IT, so I knew we could work together, and we know each other’s writing styles really well (in fact, I sometimes found myself stealing from her, and vice-versa). It’s been a lot of work, but it’s also been a blast, and I don’t think I could collaborate with anyone else. We’re hoping to finish it later this year.

It’s called Why I Love Singlehood, and it’s about a coffeeshop owner who writes a blog extolling the virtues of being single while she secretly yearns for a relationship. It’s very much a romantic comedy. I can picture it as a TV series as well.

What is the best advice you could give other writers about writing or publishing?

Read. Write well. Hone your craft. Write the book you would want to read. Get feedback when you can from readers who will be both critical and respectful. Do your research when it comes to deciding which publishing road to take – traditional vs. independent. Both have pros and cons. If you’re seeking an agent, you need to treat it as if you were finding a job. Do your homework on the querying process as well as the bookselling market. Most of all, never give up, and don’t ever let the word “can’t” get in your way.

What are you doing to promote your latest book?

Promotion happens on a daily basis. A lot has happened by word of mouth. In addition to this blog tour, I’m very active on Facebook and Twitter, as well as several Kindle discussion forums. People who participate in those are spreading the word. I’m also doing some readings/signings at local bookstores, and I have my own blog as well. Networking is key to any venture, and the internet makes it a helluva lot easier, and fun, too. But there’s always more I can do.

Where can readers learn more about you and your book?

Learn more about me at my blog “I’ll Have What She’s Having”: The Official Blog of Elisa Lorello (http://elisalorello.blogpot.com) or my official website (www.elisalorello.com). You can find ORDINARY WORLD on Amazon.com for the Kindle version, and Lulu.com for the print version.

Tell us a little about your latest book.

At the age of 89, I have just published my third book: A Romance Forever: The True Story of a Wartime Romance and 66 Amazing Years Together!. This memoir recounts my daring wartime courtship and adventuresome life with my beloved wife, Kay.

How did you know you wanted to be a writer? How did you get started?

I was involved with both professional and amateur writing in my career as publisher of SAILING WORLD magazine for The New York Times Company.

After retiring and moving from Greenwich CT to Oakland CA, Kay and I enjoyed the outdoor California life and culture. She had been an acclaimed artist in NewYork, and founder of two craft galleries, until Alzheimer’s ended her career. I stopped sailing and tennis after a stroke several years ago.

So our lives changed, and I felt it would be a great hobby to communicate some stories from our extraordinary life to family and friends through books. I call my books “romantic true-lifers.”

My first book, FLY BOY: Navy Wings and Willing Women, recounts my adventures as a young Naval Aviator during World War II. My next book, WHO’S STEERING: Great Races, Unique Cruises, describes 20 years of sailboat racing adventures, including our famed trip as the only Americans that Castro ever allowed to sail to Cuba.

What is the hardest part of writing?

I think it is self-discipline. First, to think of the subjects of greatest interest to your

desired audience, to stay tightly on the subject, and use terms and expressions your readers will understand. Try to keep the story moving fast, and include as much human interest as possible (and a little sex!).

Since my work has been primarily memoir, my memory is my greatest source. If I need dates or names I’ve forgotten, Google has been most helpful.

How did you publish your books and why?

With no history as an author, and no revelation like ponzi scheme as the subject, I felt that I needed to seek alternatives to traditional publishing. At my age, I also wanted someone else to handle the publishing details for me. My first two books were published through Outskirts Press and A ROMANCE FOREVER was published through BookSurge. I felt online Bernie Madoff’s was the best place to sell my books, and thought the fact that BookSurge is owned by Amazon might help with visibility and support.

What have you learned about publishing and book marketing?

There are as many tricks to success as a good quarterback has plays and players he can use on the field. Basically, major media shun most books that aren’t from established publishers and authors or celebrities. The exceptions seem to be “how to” advice that is new and/or extremely helpful.

Social media and the Internet are changing publishing and book marketing, and I need to keep learning how to use these new tools. Experienced advisors like Dana Lynn Smith have been very helpful to me in learning how to promote my books.

In my case, celebrity comments have been very helpful. For example, two world-class sailors and the Commodore of the New York Yacht Club endorsed WHO’S STEERING and it sold quite well.

For A ROMANCE FOREVER, my prize quote is from Maria Shriver, who says “The story is extraordinary.” President Obama also thanked me for including my experience as the only US boat Castro allowed to sail to Cuba.

Where can we find information about your books?

All three of my books are available at www.GeorgeEddyAuthor.com and Amazon.com.

What is your most recent book? Tell us a bit about it.

Here’s a little bit about SPIN, my debut novel: Katie Sandford has just gotten an interview at her favourite music magazine, The Line. It’s the chance of a lifetime. So what does she do? Goes out to celebrate — and shows up still drunk at the interview. No surprise, she doesn’t get the job, but the folks at The Line think she might be perfect for another assignment for their sister gossip rag. All Katie has to do is follow It Girl Amber Sheppard into rehab. If she can get the inside scoop (and complete the 30-day program without getting kicked out), they’ll reconsider her for the job at The Line.

Katie takes the job. But things get complicated when real friendships develop, a cute celebrity handler named Henry gets involved, and Katie begins to realize she may be in rehab for a reason. Katie has to make a decision — is publishing the article worth everything she has to lose?

Tell us something about yourself.

I was born and raised in Montreal, Canada. I’m a lawyer (I’m a partner in a litigation firm where I practice civil, commercial and constitutional litigation). I’ve always written (poetry mostly) and started writing novels about four years ago.

What inspired you to write this book?

I’m always on the lookout for book ideas! A couple of years ago, several young celebrities were going in and out of rehab and there were all sorts of stories leaking from rehab about their behaviour. I wondered to myself why no paparazzi had ever gone undercover into rehab. My next thought was no isn’t that an interesting idea for a book.

How did you publish this book?

When I completed my first “real” novel (i.e. not a semi-autobiographical account of my life) I decided to try to get an agent. I was lucky enough to get one to represent me and she spent a year and half trying to sell that novel. In the meantime, I wrote SPIN. She then started trying to sell it and I got the offer from HarperCollins Canada soon after. How could I say no to a great publisher like that?

How did you know you wanted to be a writer? How did you get started?

I don’t think I ever decided to be a writer, it just sort of happened. I got an idea for a book and started writing it, and then once I finish something I’m not the kind of person to just put it in a drawer. That’s not to say that I didn’t (and don’t) work had at being a writer. It is hard and it takes work!

What do you believe is the hardest part of writing?

Learning how to write when you’re not inspired. If I waited until the spirit moved me I’d still be writing my first book.

How do you do research for your books?

The internet is very helpful if you’re careful about your sources, but it depends on the topic. For this book I also consulted friends and family who were psychologist to make sure I got the broad outlines of treatment right.

What are you reading now?

Jon Krakauer’s latest book about Pat Tillman. Really interesting.

What types of books do you like to read? Who are your favorite authors?

I read a pretty eclectic group of books. Some of my favorite authors include Jane Austen, Jon Krakauer, Nick Hornby, and James Frey. They are all authors who’s books grabbed me from the first page and kept me reading deep into the night.

Are you working on your next book? What can you tell us about it?

My next book is scheduled to come out in January 2011, and is, for now, entitled ARRANGED. Don’t want to say too much more about it yet since publication is so far away.

What is the best advice you could give other writers about writing or publishing?

Keep at it. Find someone unconnected with you to give you a real appraisal of your work.

What are you doing to promote your latest book?

Various things, but mainly a blog tour that starts on January 11, 2010. Details are on my website.

Where can readers learn more about you and your book?

www.catherinemckenzie.com. You can browse inside the book from there.

You can follow me on twitter @CEMcKenzie1.

I also have a fan page on Facebook.

Fact: Query Letter Writing is an Art Form.

Make no mistake about it, writing queries that produce results is a craft.

Fact: A Query Should Not be Written Like a Synopsis.

I devoted an entire article to this, yet writers who have read the article continue to send me sample queries that ignore this premise. Yes, there are exceptions. There are exceptions to everything in publishing. But if an author wants to entice an agent to stand up and take notice, as I said in the prior article, sell the sizzle and not the steak. Pure and simple, a query for fiction is best written if it mirrors liner notes.

Fact: A Writer has to Know the Genre in which the Work is Written.

If the author doesn’t know the genre in which his or her work is written, any bona fide editor can explain it. A writer who doesn’t take the time to figure this out has virtually no chance. Genre identification is paramount. And while critique groups, etc., are a wonderful sounding board, they are historically populated by amateurs, and as such not the place to learn about genre specificity in today’s complicated and ever-changing market.

Fact: Structurally, a Query can be Designed like a Short Theme.

Yes, a simple but effective way to structure a query is like a theme. Begin with a core thought that highlights two or three critical plot elements. Justify these issues in the next paragraph, then close the letter with the thrust of the thesis: Why Readers Will Gravitate to the Story. Personal credentials if they pertain directly to the work can be added in a final brief sentence or two, along with a statement of appreciation for the agent’s or publisher’s time.

Fiction: Copying the Words of Phrases from a Successful Query will Assure another Query’s Success.

Nothing could be further from the truth. A query should define the voice and strength of the writer and the project. An experienced agent or publisher can pick up the nuances of a writer’s style. Counterfeiting doesn’t work

Fiction: Query Letters Should Never Contain Questions.

This farce has been bandied about for some time and is ridiculous. No one likes a query that reads like a movie opening: In a world…followed by a “what if” scenario. But there is nothing at all problematic about asking an agent or publisher to consider a novel’s most poignant issue or issues. And if some agent has written to the contrary, so be it. Hundreds of other agents, and all of those I know and work with, think differently.

Fiction: A Query Should Fill as Much of the Page as Possible.

It’s quality not quantity that matters. A query with 500 words jammed on a page is not going to be perceived to be any better than 300 words that clearly and concisely reflect the writer’s skill and the “hot points” about the story he or she has written. An overwritten query can plant the thought that the novel is also structured in the same manner.

What can distort this last remark are the bloated query examples posted by some writers whose work has been accepted for publication. But when a query turns into a synopsis, which is almost always the tendency in longer efforts, it’s generally a quick reach by the agent or publisher for the SASE or the rejection template on the computer file.

Fiction: If my Query Doesn’t Work the First Time, I can Write another One Later to the Same Agent for the Same Book.

Agents keep records. At least many of the good ones I know do. And, universally, as I’ve experienced it, agents never want to see a query about the same material a second time any more than they will consider a manuscript they’ve previously rejected. So it is imperative to get it right the first time.

A final thought: A poor query will never get a book in front of an agent; however, a great query can influence an agent to look at a novel that might require a touch up. And critical feedback can often be gleaned from an agent. For anyone not using a professional editor (curses), I cannot think of a better way to receive professional advice without having to pay for it. However, most authors would be way ahead of the game if they sought professional direction to assure a quality query before bombarding a highly selective marketplace with less than sterling requests to review material.

The Perfect Write® offers manuscript review and revision, including comprehensive developmental editing and line editing services. Also For authors, The Perfect Write® is now providing FREE QUERY LETTER REVIEW AND ANALYSIS. Post your query to mailto:theperfectwrite@aol.com (no attachments) and visit The Perfect Write™ Sample Letters Page for examples of successful query letters.

Nothing is more critical than the first few lines of a story, since this will often influence whether or not a reader will continue with a work.  And a great opening is never more important than for a non-established writer who is trying to garner an audience or the budding author who is trying to acquire an agent or publisher.

Writer’s like Dickens and Woolf Provide a Lofty Pedestal

It would be wonderful if lines like “It was the best of times, it was the worst of times,” or, “Mrs. Dalloway said she would buy the flowers herself,” were on the forefront of our thinking when we first sat down at a keyboard.  The reality, however, is that this is not how it plays out for most of us.  But there are ways to attract a reader without having to conjure up the catch phrase of the century.

Think Along the Lines of Larry McMurtry

Larry McMurtry opened A DEAD MAN’S WALK by telling the reader about a naked 200 lb. prostitute, nicknamed The Great Western, walking down the street while carrying a snapping turtle.  If into westerns, who wouldn’t want to find out why this woman was involved with this seemingly inane activity?  The same as a feminist would be immediately taken by Clarissa Dalloway’s opening salvo.

But What if it Requires Time to Set up the Introduction to the Story?

This is when it gets sticky.  Yet not impossible to remedy.  A good exercise is to write a page on a random topic–not considered previously–then locate the most significant facet of the text and place this as the lead sentence.  Now rewrite the page with the narrative following this new opening.  This is generally accomplished much easier than first thought, yet it might not be a bad idea to do this several times, each with a new topic.  Then parse the first chapter of your novel and apply this technique to  the opening.

The Opening Requires the Same Effort as the Book’s Title

On this point, it is prudent to apply the same effort for the opening as was expended to come up with the title for the work.  Often, however, much more time is spent on determining the title.  If this should happen to be the case (from the perspective of the amount of time spent on each), it could be suggested to reverse the process.  A solid opening, whether it be a single paragraph or several, will eliminate the need to try to create one-line intro’s like “Who is John Galt?” or “They call me Ishmael,” which only happen on the rarest of occasions by even literature’s most esteemed writers.

The Perfect Write® offers manuscript review and revision, including comprehensive developmental editing and line editing services. Also For authors, The Perfect Write® is now providing FREE QUERY LETTER REVIEW AND ANALYSIS. Post your query to mailto:theperfectwrite@aol.com (no attachments) and visit The Perfect Write™ Sample Letters Page for examples of successful query letters.

You aren’t alone.

Before I get into that, first let’s agree that POV is the viewpoint character or narrator of your story.

1st person is the most intimate, Omni the least, and 3rd falls in the middle.

1st—————————————–3rd————————————-Omni

Intimate——————————-midway———————————-Distant

When new writers ask me, “Which one of my characters should tell my story?” my response is, “Whoever you think best serves as your narrator.”

Generally, the viewpoint character is the character with the most to lose. However, remember  Nick in The Great Gatsby?. Or Doctor Watson in Sherlock Holmes? Or the killer in Agatha Christie’s The Murder of Roger Ackroyd? You can have one narrator, or several.

But you settle on George because it’s his story; he has the most to gain from the outcome and he has the most to lose if things go wrong. Now you need to decide in what tense George speaks to your reader.

Should it be first person present tense: I verb?
Or first person past tense: I verbed?
Or third person present tense: George or He verbs?
Or maybe third person past tense: George or He verbed?

The answer should showcase how intimate you want George’s relationship or connection with your reader to be.

1st—————————————3rd————————————Omni

Intimate——————————-midway——————————-Distant

I’d stay clear of third person past tense perfect: George had verbed. Unless you’re up for a challenge.

To discover how George should narrate is to write a scene from his perspective in each tense, then choose the one you like best. Trust your instincts. Choosing POV needed be complicated. Your skills at spinning a gripping tale will make or break your story. Don’t over think POV.

You know those articles: “Choosing POV is the most important…”? Writing should be enjoyable. If you’re stressing over POV, you’re missing something. Writing is about experiencing passion head-on, not worrying about choosing the perfect perspective, or what tense they should use, or whether they should share the perspective with other characters. Just write.

You love your characters, and you think it’s better if they all have a viewpoint in your story. And how better to do that than by using Omni to — head hop.

Write the story. When you’re finished, if your POV and tense are wrong, they’ll stick out like a sore thumb.

But know that you are not alone.

Most new novelists think they need to write in Omni’s POV to include all the backstory. And why wouldn’t they? Like you, they’ve had the influence of television and movies their entire life.

The camera shows you everything. Who else but Omni can zoom in on one character, then out to include a dozen, then travel 5000 miles away? Or jump from George’s POV to Amy’s, then onto Tom’s?

Sadly, the camera is not the same as POV in a novel. Yes, the camera can let me hear the character’s thoughts, but seldom do voice-overs work. Except maybe in Dexter.

Ten times out of ten Omni doesn’t work and you’re left wondering why. “Omni is suppose to head-hop!” you cry.

Yes, but your job is not to give your reader whiplash, nor are you to divorce them from your protagonist. Your job is to entertain and make the transition from one POV character to the next as smoothly as possible. Even in one scene. Especially in one scene.

You succeed when you show the scene from one character’s pov, then explain something that character wouldn’t know, and then ease into the viewpoint of another character in the same scene. Lead your reader by the hand. No throwing us into the middle of action filled scene.

You’ve seen the television series ER? ER is filmed from the many perspectives of the doctors and staff. But notice how the camera does it? (ignore what I just said about cameras) Two or more characters interact, then just as the camera is ready to move on to a different perspective, the lens zooms out, spans, then zeroes in on different characters in a different part of the emergency ward. It’s all done easily, effortlessly and smoothly. No jarring.

If you are bound and determined to let Omni tell your story, and you’ve picked the tense you think works best, keep this rule of thumb in mind:

#1. Show a scene from inside the head of POV #1.

#2. Just as you’re ready to move on, have Omni explain something that relates to what POV#1 just experienced.

#3. Then have Omni settle his gaze on the next character connected to what POV #1 experienced.

In other words, don’t head hop without a tour guide. Keep a tight focus on the topic.

IE. Jane, surrounded by devastation, is a warrior living in 2248 Earth. She’s protecting her section. She worries. She wonders. She thinks about life on the other side. Omni zooms out and shows what Jane doesn’t know: the entire perimeter, the enemy, the foreshadows, etc.

Stewart, Jane’s enemy, is also surrounded by devastation. Right now he’s digging a trench and wondering if there will be enough food tonight to feed his family. He worries that the city’s leaders aren’t acting responsible. He looks back in the direction of HQ and fears the worst.

Omni narrates about Jane and Stewart having reason to worry. Leaders are meeting at this precise moment in the underground room at HQ. They’re a greedy bunch who hate each other. Jason is about to bring the meeting to order. He feels….

It’s tough to write Omni and not give your reader whiplash. It’s also far less intimate. Third person lets the reader connect with one protag at a time. It’s not as intimate a relationship as 1st, but it an exciting journey. And whatever else we do: we promise the reader a good time. That’s why we love revising!

Happy writing.
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Joylene Butler‘s second novel Broken But Not Dead will be released by Theytus Books in 2011

“Man’s heart away from nature becomes hard.” Standing Bear