Writers in the Storm

by Eldred Bird

When I first heard the term Chekhov’s Gun used in a writing class, I’ll admit I thought it was a Russian firearm. Turns out I was way off base. Chekhov’s Gun is actually a double-edged sword (pun intended). Before I explain, let’s define this writing term.

What is Chekhov’s Gun?

Chekhov’s Gun is shorthand for a concept introduced by nineteenth-century author and playwright Anton Chekhov. It’s best summed up in his own words:

“One must never place a loaded rifle on the stage if it isn’t going to go off. It’s wrong to make promises you don’t mean to keep.”

And:

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

Basically, what he’s saying is cut anything from your writing that isn’t going to have an impact later in the story, leaving only those elements that are important to the narrative and will pay off at some point. There are limits to this, of course, so use good judgement.

The Edges of the Sword

So why do I say Chekhov’s Gun is a double-edged writing sword?  Because the concept works as both an editing tool and a plotting device. Let’s take a look.

The Editing Edge

Chekhov’s gun is a great lens to view our work through when it comes time to edit the first draft. We can use this handy tool to help determine what to keep and what to cut.

The first place to use the sword is scene description.

Look at each element described and ask yourself these questions:

• Does it move the story forward?
• Will it come into play later?
• Does it really add useful information to the scene or is it just window dressing?
• Is there a detail missing that will be important later?

I’m not saying cut everything to the bare bones. We still need to set the stage to create a sense of place, time, and mood, but often we (or at least I) tend to overshoot the target.

These same points also apply to character description.

When we list things off like eye and hair color, or specific articles of clothing, there should be a good reason we include those details.

The next place we need to use our blade is backstory.

This is usually where I end up making my biggest cuts. My stories are very character driven, so I like to get to know them on a deeper level. As a consequence, my first drafts are always packed with far more information about the character’s past than will ever come into play in the story. Here are some of the questions I ask when looking at backstory:

• Is the backstory detail there only for me (as the author) to get to know the character I’m writing better?
• Does the detail inform on how the character will react to a stimulus in the future?
• Does a future plot point rely on the detail?
• Is the detail something the reader can get from context or action rather than description?

Again, I’m not saying to cut everything that doesn’t relate to the plot. We still need to build characters readers can relate to or they won’t care what happens to them. Just be judicious with the information that’s not driving the plot.

The Plotting Edge

Plotting is where I believe Chekhov’s Gun really shines. It all comes down to the idea of planting an object or detail that will play an important part later in the story. Think of it as a way to plant seeds that will germinate later or foreshadow things to come.

Chekhov's Gun vs The MacGuffin

In some ways, Chekhov’s Gun may sound similar to the MacGuffin, but the two function in very different ways. The MacGuffin’s purpose is to drive the plot forward throughout the story, whereas Chekhov’s Gun is a specific element that comes into play in a specific future situation.

Think of the MacGuffin as the car the characters are riding in. Chekhov’s Gun would be the squeaky brakes the protagonist was supposed to get fixed. The payoff happens ten miles down the road when a pedestrian steps off the curb in front of the car and the brakes fail.

Examples

One of my favorite uses of Chekhov’s Gun as a plotting tool comes from the movie The Fifth Element. Near the beginning of the movie, the main character pockets a box of matches with only one match left. We never see the box again until near the end of the movie, where everything they’ve been through comes down to that one match working.

I’ve used this tool in my own writing as well. In the third James McCarthy book, Cold Karma, James adopts a stray dog. For several chapters, it seems the dog doesn’t really serve any purpose (my critique partners told me to get rid of him), but in the end he plays a pivotal role in the capture of the antagonist.

Some Final Thoughts

No matter which way you use Chekhov’s Gun, it’s a handy tool to keep in your bag of tricks. But just like any other writing tool, we must be careful how we wield it. It’s possible to go overboard and cut too much detail when editing through this lens.

It’s also possible to plant too many seeds and crowd the garden when using it as a plotting device. The more elements you slip in, the more threads you’ll have to tie up in the end. If you’re like me, you may lose track of some of those threads and end up with some extra editing to deal with.

In the end, it’s all about finding a balance for your story.

Do you have a favorite use of Chekhov’s gun in books or movies? Have you used it in your own work? Let us know in the comments!

About Eldred

Eldred Bird writes contemporary fiction, short stories, and personal essays. He has spent a great deal of time exploring the deserts, forests, and deep canyons inside his home state of Arizona. His James McCarthy adventures, Killing Karma, Catching Karma, and Cold Karma, reflect this love of the Grand Canyon State even as his character solves mysteries amidst danger. Eldred explores the boundaries of short fiction in his stories, The Waking Room, Treble in Paradise: A Tale of Sax and Violins, and The Smell of Fear.

When he’s not writing, Eldred spends time cycling, hiking, and juggling (yes, juggling…bowling balls and 21-inch knives).

His passion for photography allows him to record his travels. He can be found on Twitter or Facebook, or at his website.

By Megan Ganesh

Why write books with diverse and inclusive characters?

The world is made up of many people whose diverse backgrounds, quirks, experiences, dreams, and interactions with others shape their lives.

Everyone is unique. However, we all have things in common, whether they are things we have witnessed or experienced.

One book I love that does this well is the Victor trilogy, by Theodora Taylor. In the book, the son of an organized crime boss lost his tongue as a child and must use Chinese Sign Language (CSL) to communicate. The book shows the implications of how others in the world perceive him.

He meets the heroine when she teaches him American Sign Language (ASL) and of course a dark romance ensues.

What is diversity and inclusion in writing?

Writing multi-faceted, diverse characters that aren’t stereotypes or just there to tick a box means more to those who can see themselves in a book.

Did you know that there were black pirates? What about female pirates and women who snuck into the royal navy? Of course, I’m not saying that any of us want to be pirates now, but how far would someone go knowing that more was possible for them? We come in many colors and that does not prevent us from breaking into any field.

What about writing a character with a disability who finds love? There are so many real-world examples of these experiences happening and few of them are being shown in books.

As authors, it is our job to do better.

One author who has done this well is Alyssa Cole. In Can’t Escape Love, the heroine is in a wheelchair. In the book, the wheelchair isn’t something that is there to scream, look I’m different, but instead it becomes a character itself and we can see how the experiences of others who are differently-abled from ourselves go about everyday tasks and find love and sexual fulfillment.

What do those stories mean to those that have been included?

• Seeing oneself in a book
• Watching a character go through shared experiences or backgrounds
• Seeing how the character handles a situation

All these mean the world to a person who has only seen themselves as a flat stereotype.

As writers, we have the power to create change. We can show a better world, a full world, instead of perpetuating misinformation. We can use our words to show that no matter the physical or mental abilities, gender identity, race, culture, language, sexual preferences, backgrounds or experiences, there is something shared that connects us all.

In A Girl Like Her, By Talia Hibbert, the main character is an autistic heroine. Talia Hibbert shows how autism manifests for this specific character. (I mention to show the way your character reacts to being differently-abled or a certain diagnosis is unique to them and we must remember to make that clear in our stories, not use generalizations to paint all people with the same brush.)

Who should write these stories?

Own voices are important, and I think if you are a writer and happen to have a story, by all means share it.

But what if you don’t? Can you still write it?

Yes.

But how?

How to write those stories?

• Create full, multi-dimensional characters who are more than their skin color, orientation, background, etc.

• Take the time to get to know your character. Let them speak to you and tell their story. (For plot/event driven writers, dig deep into who would experience these events, how would it change them, what type of honest conflict would drive them to behave as they do? Is it the same reaction or have you taken the time to recognize another path?)

• Research your character using sensitivity and beta readers (more than one).

• Do your best and know, as with any book, no matter how hard you try, you will find that some people hate it. (3% haters are always going to find you and that’s okay.)

I know some of you might still be unsure if you can do this.

You might think what gives me the right to write this story?

What if I mess it up?

What if this isn’t my story to tell?

And to that I say, the calling to be a writer makes you capable of telling this story. Fear of messing up means you want to do a good job. You know it might not be perfect and you might make mistakes, but you will keep pushing even if it’s hard and you have to start over.

It’s when you don’t question yourself and feel fully confident that you might want to get more eyes on it. (Hello, do you remember your first novel when you thought you knew everything ... yeah, kind of like that.)

And lastly, what if this is exactly the story you need to tell? What if your readers are waiting to see themselves in a book? Waiting for someone to write that story for them, and you are the one to do it?

Don’t let them be forgotten. Not letting them be forgotten is a big one for me and if you made it this far, you might wonder why this is so important to me.

Why this is important to me?

From a young age, I was an avid reader of all things and I got bitten by the romance bug. I was voracious and, like most readers, loved picturing myself as the heroine and being swept away. (I’m probably dating myself, but in the early 90s there were not a lot of diverse or multicultural romances available.)

I was stuck. I wouldn’t stop reading, but in my heart I yearned for characters who looked like me. I wanted to see how they found love and what their lives were like. I wanted to be inspired. It happened when the lines Arabesque by BET and Kimani Press from Harlequin were created. These books were windows into me, what I could be, and what I could do. They introduced me to new concepts, professions, and to family dynamics that were different from my own, It allowed me to dream and hope and see what is possible.

I still have a lot of my old novels. Books by Francis Ray, Rochelle Alers, Brenda Jackson and more. I treasure books that have characters of color who can be main characters, not the sidekicks or those never seen in books at all. They can be prominent characters who are fully recognized and living their lives on the pages.

I’ve found my own hero, and we share two beautiful children. We are a multicultural family as my husband is Sri Lankan. I want to write books where my children can one day see themselves in the possibilities and dreams of the characters.

This is bigger than Race. Francis Ray was one of the first authors that introduced me to a heroine who had a traumatic past and was able to find love. In her book All I Ever Wanted, she showed it was possible to learn to love again after a traumatic experience.

Books can transverse so many things. Touching on mental health, race, class, gender identity, and sexual orientation. As authors, we can introduce our readers to different cultures and more through the stories we write and share with the world.

What story do you feel called to tell? What are your thoughts on diverse and inclusive stories?

I look forward to connecting with you.

Happy Writing

* * * * * *

About Megan

Megan Ganesh is a stay-at-home mom of two littles. She is a voracious reader and enjoys crafts, cooking, and working out. You can find her at home writing inclusive stories, because we all fall in love. Sign up for her newsletter on her website and follow her on Instagram, Facebook and Twitter

Top Image by Gerd Altmann from Pixabay

by Lisa Norman

One of the most common mistakes I see writers make with branding is to pull their punches. They have power. They have a unique take on life and story. But they also want everyone to like them.

¹⁵“I know your works, that you are neither cold nor hot. I wish you were cold or hot. ¹⁶So, because you are lukewarm, and neither hot nor cold, I will vomit you out of my mouth.

Revelation 3:14–16

That’s a pretty strong quote. Just by using it in this article, I’ve elicited strong feelings either toward or against me. My spirituality is a part of my brand. If you don’t like it, you won’t like my books.

Think back to the marketing wheel I shared in a previous post. As a refresher, I refer to your website as a way that people decide if they like you and like your writing. If the website does its job and attracts people, they buy the book, join your email list, and then go on to recommend your book to others, getting the wheel spinning.

That’s what happens when you attract the right people, your superfans. But what happens if you attract the wrong people?

Story Time

Let’s say you write steamy romance. Now, let’s say your website appeals to people who love all kinds of romance: sweet, steamy, everything. You’re out in the world, using social media, and you draw all kinds of romance lovers to your site.

What is going to happen when you attract a reader who loves sweet romance?

Let’s say your website and your online presence work so perfectly, this sweet-romance-loving reader picks up your book and … oh my!

You’ll get a less than stellar review.

That fan isn’t likely to do much to make that wheel turn.

You want to attract avid fans, people who will love you and turn that wheel.

Trying to please everyone results in a bland website that probably won’t attract anyone.

True fans want to know your quirks. They love you because of them. To quote Margie Lawson, “Quirky Sells!”

Let’s look at what happens when you attract the wrong people:

Your website costs more

Specifically, your list can cost more to send and manage. A huge email list is great if it is full of your true fans. You’ll send out an email and you’ll sell books. That list will support itself.

If you have the wrong people on your list, you’ll pay more to send and maintain your newsletter while not getting a strong return on the investment. If your list is generating less than 10% engagement, you may be attracting the wrong people.

In addition, while modern web hosting gives us a generous allowance for traffic, if you have too much traffic your site will slow down and you may have to pay more for hosting. Again: fine if that traffic generates income. Not fun if people who think you are barely tolerable waste your traffic.

Your Search Engine Optimization (SEO) will suffer

If you are ranking for topics that you aren’t a good fit for, people will come to your site and then hit the back button. This is called a “bounce.” When people bounce, search engines downgrade your website for that topic. You want your branding to be so on point, so clear, that search engines never rank you for terms that you are not appropriate for. You also want people to be able to see from the search engine results whether they want to click through to your site or not. Stop them before they come and they won’t bounce.

Your branding can get muddled

Trying to please everyone and offend no one creates a bland brand that is hard to define. Writers who are tied into their superfans sell more books. They know who they are as a writer and they devote their energies to pleasing those superfans. The fans reward them. Once your brand is muddled, you’re likely going to have fewer fans, and those that you have will be less dedicated, less passionate.

You generate bad reviews

Remember: the goal of the website is to encourage people to buy, read, and review the book. If you attract the wrong people, people who aren’t your ideal readers, then you’ll pay for it in lower-star reviews. Don’t be afraid to turn off some people. Your true fans will love you for it!

Think about the authors you love. What draws you to their brand?

About Lisa

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of Deleyna's Dynamic Designs, a web development company focused on helping writers, and Heart Ally Books, an indie publishing firm. She teaches for Lawson Writer's Academy.

Interested in learning more from Lisa? See her teaching schedule below.

Classes:

• July (co-teaching): Difficult Discussions: Ways to Approach Diversity on the Page
• August: Crazy Easy Digital Organization Skills for Authors
• September: Maximize your Crazy Easy Author’s Website