Writers in the Storm

Laurie Schnebly Campbell

A quick note from your WITS blog mistress: I'm sorry for so many comments not getting posted as soon as we'd like. All four of us were out of town, and no one had internet access. (Two of us thought we would be able to approve comments, but we were wrong.) Everything is caught up now, though, and if you were waiting for your comment to appear, it's in the comment section below. We'll post the winner of Laurie's giveaway this evening--at the end of the comments section. Thanks for your patience!

We all know a great book needs a great plot and great characters, but those aren’t always enough.

What about the setting?

What about the theme?

What about the voice?

What about the emotion?

What about the action?

What about the dialogue?

 

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Those elements might very well be built into your characters and/or plot, but they can go well beyond that. In fact, when any of those elements is absolutely stellar it can make the difference between simply a “good book” and a keeper that’ll be:

       * Read again and again

       * Loved just as much every time

       * Recommended enthusiastically to fellow readers

       * An inspiration for the reader to seek out other books by this same author

So while plot and character are essential factors in building a book that’ll be considered at least a reasonably good read, it takes more than those two factors for a book to be remembered and treasured. It takes three powerful strands, braided together.

What’s the third strand? Genre.

Some readers might protest, “I never read genre fiction; it’s mindless.” Or “it’s trashy.” Or “it’s formulaic.” Or “it’s a waste of time.”

 

 

 

 

 

 

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For people who’d rather die than read a novel which didn’t make The New York Times Book Review, it usually comes as a surprise that genre fiction ISN’T mindless, formulaic trash.

Instead, it’s a guarantee of avid readership.

Whether the genre is mystery, romance, fantasy, or even literary fiction, the readers who love it are likely to always:

       * Have another book waiting on their bedside table

       * Pre-order every series title by their favorite author

       * Keep buying book after book after book because this particular kind of reading satisfies a deep need within them

What IS it those readers need?

Well, of course, that depends on the genre. In the classics like mystery, romance, fantasy and mainstream / literary, it’s pretty easy to define what readers expect when they plunk down their money for a new title.

 

 

 

 

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Mystery readers, for instance, want to see the puzzle solved and justice done (unless the bad guy gets away with murder and will need to be thwarted by the good guy in some future book).

Romance readers want to see a couple falling in love and embarking on a happily-ever after (or at least a life which shows these two people were meant for one another).

Fantasy readers want to explore a new but highly plausible realm (in which, win or lose) the challenges are far more enthralling than those of the everyday world.

Literary fiction readers want to feel like they’ve been encouraged to think deep thoughts about the meaning of life (whether or not the characters triumph at the end).

Sure, there are variations according to which TYPE of fantasy orromance or mystery or literary fiction they're reading, but you know that as long as you deliver the fundamentals of what people want from such a story, you're gonna leave ‘em happy and waiting for your next book.

 

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What do YOUR readers want?

You might know that already.

Or you might have never thought about it in those terms.

But the answers matter, because they affect how you handle a multitude of things within your book. The setting (time & place, yes, but also how you describe the society and the everyday details). The relationship/s (if there are any). The moments of nail-biting tension or emotional drama or staggering horror or uplifting inspiration or good vs evil or intriguing discovery or comic relief...to name just a few.

By way of illustration, what do readers love most about a cozy mystery?

* The multiple clues.

* The decision of whether or when to involve the local police.

* The descriptions of the people who might be suspects.

* The red herrings along the way.

* The protagonist's interesting hobby. 

 

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 prevailed.

Continuing the illustration, what do readers love most about a romance?

* The excitement of a growing relationship.

* The first meeting of these two people we know will fall in love.

* The moment when one of 'em recognizes the other person is someone special.

* The first touch and/or kiss and/or love scene. (Or the fourteenth.)

* The realization that "here's the one I love.”

* The resolution proving that once again, love has led to a happy ending.

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                                                      * The resolution proving that once again, truth and justice prevailed.

Different romance authors and cozy-mystery authors will place more emphasis on various aspects within their story, but all of 'em are there to keep the readers engaged.

Readers will certainly enjoy seeing surprises as they journey through the book. Yet at the same time they appreciate knowing that once they’ve reached The End, they will have gotten the kind of experience they wanted from this particular title.

Which leads to the trickiest question of writing a such a title:

How do you blend your plot, character and genre?

That’s not always as easy as it might sound. All three elements are crucial to a well-balanced story, but not every book gives equal weight to each strand of the braid.

The braid is where your artistry comes in.

Think about a literal braid. If you picture a fat strand and two skinny ones, it won’t look so good. Same if there’s two fat strands and a skinny one. Balance is crucial.

That’s what we’ll cover in next month’s class on Your Plot-Character-Story Braid at WriterUniv.com, and someone who posts about their favorite strand will win free registration. (Or a refund PLUS the class if you’ve already registered.)

I’d love to hear from you!

Which do you find easiest or most enjoyable: creating characters, devising a plot, or knowing the expectations for your genre?

One lucky commenter will win Laurie's Braiding Your Book class at WriterUniv.com. Read the comments for the announcement of the winner on September 1st.

Laurie, who’ll notifythe winner privately tonight (if your post offers any clue on how to reach you) so nobody will have to stay in suspense through Labor Day weekend :)

 Bio: Laurie Schnebly Campbell always loves analyzing what makes a book work, so she's looking forward to starting a four-week class on Braiding Your Book at WriterUniv.com's http://bit.ly/BraidClass on September 3. Although she enjoyed braiding her own romances, including one that beat out Nora Roberts for "Best Special Edition of the Year," she enjoys teaching even more. That's why she now has more than 40 novels on her bookshelf from authors inspired by her classes.

Tracy Brody 

Hello again, friends. Back in June, I did my first guest blog here on An Addict’s Take on Writing Contests. As promised, I’m going to give you some tips on how to pick the best contest for you depending on where you are in your writing career.

Are you a newbie author? Filled with passion for your story and ready to have Oprah or Ellen on her show to tell the world about the best book ever? Yeah, I was that starry eyed, optimistic newbie who never heard back from Oprah. That’s a good thing because I didn’t know how much I didn’t know about writing at that time. If you are a newbie, I suggest you look for a couple of things when picking contests to enter.

• Number of judges: Get more bang for your buck by getting feedback from more judges. Most contests have at least two first-round judges, but many have three and some even have four. You can typically find that information on the contest rules page.
• Contest Scoresheet: Many contests provide a link to the scoresheet. Check it out. Does it address the things you want to know? The details are a lot more helpful than a contest that only gives you judges’ comments or an overall score but no comments or specifics. Scores and feedback are SUBJECTIVE (and not always right), but look for comments that are repeated as they likely will help target areas to improve. Remember though, the judges are not editors, and you aren’t paying them to be. Most are not going to mark every comma error or even point out every flaw they see.

If you’re an intermediate to advanced writer, you may be at the stage where you’ve improved your craft and want more than just feedback from a contest. Trust me, no matter how fabulous a writer you are, You. Will. Still. Get. Feedback – telling you where you can improve. ?Instead of big picture things like passive versus active, showing rather than telling, pacing, GMC and POV comments, you may learn about gerunds and prefacing and not using both dialog and action tags.

• Length: How much can you enter? Check the rules page. Is it by word count or page count? The more you can submit, the bigger picture the judge can get.
• Synopsis: Does the contest require a synopsis? Is it judged? It does require more work, and they can be sooo hard to write, but the feedback can help you learn to write a strong synopsis. It can also be a fantastic opportunity to get feedback on the overall story if you are still drafting it.
• Credentials: Contest finals can help catch an agent or editor’s attention because it shows readers liked your work. However, some contests have better reputations to impress them, for instance the Golden Heart®. A few contest finals or wins, does not mean you’re definitely ready for querying, though the affirmation of being a finalist is a wonderful boost to a writer’s psyche anytime! To up your chances of finaling, you want to look at different things.

1. Categories: Does the contest have categories? Including yours? That allows for more finalists than a contest with a limited number of top finalists.
2. Themed Contests: These usually are for smaller segments, but it may play to your strengths if you have a great hook opener or write snappy banter or a great first kiss.
3. First round judging methodology: If you want to make the finals, I recommend looking for contests which drop the lowest score.Why? Because contest judging is SUBJECTIVE and you have no control over who your judges are. They might not typically read your genre or be your intended audience. Even if they are, you can’t please everyone. So, dropping the outlier can improve your chances of moving to the next round.

If you are an accomplished writer racking up the credentials and consistently making the finals and winning in some contests, your goal may be to

• Win Prizes: What do you get if you win in your category? Certificates and plaque are nice, but some contests offer cash prizes, free classes, critiques or even mentorship. Those can be invaluable in helping take your writing to the next level or forming relationships with a judge, agent, or editor.
• Skip the slush pile: Now is the time to be selective and get your work in front of editors and agents. Look at who those final round judges (FRJ) are – they should be listed somewhere on the contest information page. Contests have at least one FRJ. Many have two, and a few even send the category winner to another next stage with a panel. That’s more chances to get your work read by industry professionals! If you’re already agented, you may want focus on contests with editors as the final round judge.

Regardless of your stage of writing, I also recommend you look for clues on how well the contest is run.The coordinators are volunteers, but not all contests are the same. Is the information on the website current, consistent, and accurate? The FRJs listed? Do you get a response if you email the coordinator? Historically, do they have a good record of recruiting and training first round judges, as well as sending entries out and announcing finalists and winners in a timely manner? That information can be hard to find, usually only by experience or word of mouth. It’s better to avoid a poorly run contest where judges are frustrated because entries are sent late and they get more entries or less time to judge or you have to wait for the announcements.

Determine what you want or need out of a contest and do a little homework. A fantastic source in addition to the contests listed on the RWA Contest page, is Stephanie Smith’s current contest chart on her webpage. She’s done a lot of the work for you!

I want to add one etiquette tip for those who enter contests. *Warning, I may sound like your mother here.* Your first-round judges are usually anonymous – though a few will sign their names if the contest allows. However, almost all contests allow you to send the coordinators thank you notes that they will forward to your judges. As I mentioned in my last post, contest judges spend a few hours giving their time to read and give you feedback to help you. WRITE A THANK YOU NOTE. It only takes a few minutes to let them know you appreciate them, even if you are disappointed with what they say or not being a finalist. It might make them more willing to continue judging and helping others. You may even make a friend, get a cheerleader, or find a mentor.

As a five-time Golden Heart finalist, I’m hoping the incoming RWA board takes the input members have given to come up with a fantastic new contest that meets the needs of even more romance writers in today’s publishing market. There’s one more year to enter the contest that has given me a huge support system of fabulous new friends and I want to encourage you to enter. If you’re planning to enter the last Golden Heart contest and want a shot at getting some feedback, in the comment section, say “I’m Entering the Golden Heart! Pick me!” and you may win a 10-page critique from me. If you aren’t entering, but are a fan of the Golden Heart, I’d love to hear that and why too.

Best wishes with your writing!

ABOUT TRACY

 

Tracy Brody started her writing career with screenplays, then switched to novels. She’s written a military themed romantic suspense series focusing on the Army Bad Karma Special Ops team—who’s love lives are as dangerous as their missions. Her three completed manuscripts have all finaled in the Golden Heart and she won for Romantic Suspense in 2015 & 2016. She’s a member of RWA, Carolina Romance Writers, the Kiss of Death, and the Golden Network.

 She is represented by Helen Breitwieser of Cornerstone Literary.

 

 

Piper Bayard

It’s a simple fact. Any electronic item that transmits a signal can be intercepted and/or hacked. That means cybersecurity is an issue for each of us; therefore, unless we are writing historical fiction, cybersecurity is a potential issue for each of our characters.

Volumes can be written on cybersecurity issues, so rather than offer a comprehensive treatise on the subject, which would no doubt be obsolete before dinner time, today we’ll focus on common objects in the modern world that can be hacked to spice up our story lines.

The most obvious story lines involving cybersecurity are thrillers. So we’ll cut to the chase, so to speak, and look at the big picture first.

If our character is using electronics to find someone, that character’s capabilities will depend on their nationality and the power of their government or underworld contacts to assist them. Every ally from the NSA to Anonymous could be at their disposal. There are far too many variations to address in an article, or even a treatise, but suffice to say more than one government has the capability of scooping up every electronic transmission in a given area, and more than one hacker can access everything from a home router to the Pentagon. That means your character can discover as much or as little as your plot line needs.

To flip the coin and try to hide from government surveillance on the part of any country in the West, Russia, or China, a character’s best bet is to hide in plain site with a new identity. If that isn’t possible, they must go to an all-cash existence, never carry any electronics of any kind on their person, and avoid all cameras in businesses and on streets. Since this is pretty close to impossible in First World countries at this point, it’s also best if the character stays on the move in Third World countries. However, human intelligence will still be a threat, and they will most likely be found eventually.

But what about a smaller, more intimate picture? Most of us can look around our workspace and find items that can be hacked.

Computers and phones are the most obvious. My writing partner is a senior member of the Intelligence Community. He and I recommend that everyone put a sticky note over their computer camera, because entities from corporations to any number of governments to hackers can and will observe you without it being obvious to you. . . . I’ll pause a minute for you to cover that camera . . .

Thank you. I feel better talking to you now that strangers can’t see you in your pajamas. If you want to be particularly cautious, cover camera on your phone, as well.

Speaking of cameras . . . Nanny cams, doorbell cameras, security cameras of all kinds, and children’s toys are also regularly hacked by unscrupulous individuals and used by governments foreign and domestic to record information on private citizens.

I know what you’re thinking. . . . Why on earth would foreign governments want to digitally molest my nanny cam? I’m just not that interesting.

Not to promote paranoia, but you actually are that interesting. These are only a few reasons foreign governments want to spy on you:

• To spy on expatriates
• To monitor trends in society
• To improve training of deep-cover operatives
• To better design propaganda efforts in foreign countries
• To gather information on possible targets for covert action
• To identify blackmail targets
• To build files on important foreigners

Yes, foreign governments use Internet devices to collect information on regular citizens to tailor their enormous propaganda efforts, but that is an article for another day.

Most of us are aware that our computers are open books for governments—both domestic and foreign—as well as hackers. A hacker can get into a computer and do anything that the computer’s owner can do. They can destroy everything on the device, pilfer through everything on the device, or plant spyware that will record every keystroke. Computers are most vulnerable when connected to unsecured Internet networks, such as at coffee shops or in hotels, and hackers know this. . . . Great material for plot lines, right? . . . There are numerous companies that sell cybersecurity programs to help detect and protect from such attacks. Also, if a computer is turned off, it is safe from hacking.

Phones are also common targets of governments, local police departments, and hackers.

For example, everyone in the DC area can assume that all of their phone calls are being intercepted by the Russians and the Chinese. That’s true of several large cities in the US and Europe. In addition to stationary devices, foreign agents, DHS, and local police departments literally drive around the city with “cell site simulators,” or “Stingrays” in their vehicles that simulate cell phone towers and intercept phone signals.

There are two easy ways a character can protect the information on their phone. First, they can put their phone in a faraday bag, which is a bag made of a shielding material that blocks transmissions. Another way is cheaper and faster than shopping—tin foil. Yes. There is something to the tin foil hat, or in this case, tin foil envelope.

To protect a phone, a character needs three layers of tin foil. The first layer is smooth. They must be careful to wrap the phone thoroughly, leaving no open seams. The second layer is crumpled. They crunch up the tin foil, unfold it enough to make it useful, and wrap it around the phone. Again, the character needs to pay attention to seams. The third layer is another smooth layer over the crunched layer. Once the phone is wrapped, anything a hacker could get off of it would be so distorted that it would render the information useless. This tin foil trick works for computers and key fobs, as well.

Yes, key fobs. Vehicles with keyless ignition systems, such as pretty much all rental cars these days, can be hacked from outside a building.

This is called a “relay attack,” and it can be accomplished with cheap equipment found online or at an electronics store. One character holds a key fob relay box close to the outside of a building. The box picks up the signal from an unprotected key fob inside and relays it to a second device that a second character holds near the car. This fools the car, and the vehicle can be unlocked and/or started. Great for car theft, planting surveillance devices, or hiding in a back seat or trunk.

Deliciously creepy, right? If written well, though, this hack could be used in a romance, and a lover could leave a gift on their beloved’s dashboard. Or perhaps a comedic situation could arise where a character stashed something in a rental car, and they need to get it back on the sly.

Another source for plots comes from voice-controlled speakers such as Alexa or a Smart TV.

Yes. Numerous governments and corporations really are collecting everything said within range of these devices. Hackers can do the same. Everything said within range of these devices is collected and transmitted to servers to be analyzed for “search words.” Sorry. This article is too short to discuss what can happen to all of the conversations collected that do not include “search words.”

However, such devices sometimes make mistakes. Voice-controlled speakers have been known to transmit conversations to random individuals on a contact list. For example, a couple can be having a conversation in range of their Alexa or Alexa-equivalent, and it can accidentally be transmitted to some random individual on their contact list. Cross my heart and hope to die, this has actually happened in real life. The possibilities in fiction are endless!

Another type of personal digital violation is also becoming more common all the time. I’ll be as delicate as possible when describing this . . .

It’s called “screwdriving.” When couples fall in love and become intimate, or they just want a hook up or whatever, sometimes they like to involve certain electronic implements . . . Oh, never mind. Sex toys. I’m talking about sex toys.

Sex toys often now connect to the Internet. The Internet connection allows couples to express their passions, even when they are at a distance, whether across town or across the planet. Screwdriving is when hackers drive around and seek out these devices in the buildings around them. Hackers then hack the devices in the hopes of delivering a tingly surprise—a digital threesome of sorts. The romantic and comedic possibilities are endless!

These are only a few of the devices that can be hacked in real life and in fiction. Others are pacemakers, cars, fitbits, and any other electronic device that connects to the Internet or emits an electronic signal. Apply imagination, and any of these can be a source of comedy, romance, crime, or thrills.

Have you used hacking in one of your plots? What genre was it?

Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Their latest release, SPYCRAFT: Essentials, is designed for writers. It addresses the functions and jurisdictions of the main US intelligence organizations, the spook personality and character, tradecraft techniques, surveillance, the most common foibles of spy fiction, and much more. It is available in digital format and print at Amazon, Barnes & Noble, and Kobo.

Please visit Piper and Holmes at their site, BayardandHolmes.com. For notices of their upcoming releases, subscribe to the Bayard & Holmes Covert Briefing. You can also contact Bayard & Holmes at their Contact page, on Twitter at @piperbayard, on Facebook at Piper Bayard or Bayard & Holmes, or at their email, BH@BayardandHolmes.com.