The 7 S’s of Your Writing Cave

You’ve heard of man-caves. Do you write in a cave? A nook? A special room dedicated to your craft? A place where all you do is write?

I’m curious about the percentage of writers who have such a place. Also, what’s the percentage of writers who don’t have a cave but wish they did?

Let’s explore the concept of writer’s caves and their characteristics. I believe there are seven features you might seek in setting up such a place. You could be looking for one, two, or any number of these aspects. Conveniently, they all begin with ‘s.’

  • Stimulation. You chose your cave because its window scenery inspires. Or you brought motivational aids into the space, such as pictures, incense, or music. You laid out the room so that it stirs your creative fluids and launches your mind in flight.
  • Silence. The cave is the one room in your dwelling that’s quiet. No conversation noise, no traffic noise, no TV or radio. You need peace to write and can only find it here.
  • Separation / Solitude. Okay, that’s two s-words, but they are related. To write, you need to isolate yourself from others, to be alone. The presence of spouse, children, or roommates requires you to attend to their needs, to engage with them, and you can’t write under those conditions.
  • Single-mindedness. You dedicated this chamber to writing, and that is all that occurs within. No distractions permitted. Here you focus only on creating masterpieces of fiction. You’ve banned all mental wandering, research, games, daydreaming, and navel-gazing from this room. It’s nose to grindstone here.
  • Supplies. You need certain stuff to write. Perhaps this stuff includes your computer, printer, ink, reams of paper, favorite pens, reference books, etc. You’ve gathered all these things in one space, convenient and ready at hand.
  • Security. Your cave didn’t start out as anything special, and perhaps it isn’t special now. But you’re just comfortable here. It’s become a habit. Since it’s working, why change a thing?
  • Setup. In your cave you’ve achieved ergonomic perfection. You’ve chosen a chair shaped for optimum comfort and proper spine support. The computer screen is at the right height. You’ve positioned the keyboard and mouse such that you could work here all day without fear of repetitive strain injury.

I’ll make two guesses about writer’s caves. First, I’ll bet they used to be more common than they are now. I say that because pens once required frequent dipping in an inkwell, and you didn’t want to be toting one of those around. After the advent of typewriters, those machines weren’t exactly portable either. These technologies chained writers to specific desks.

Only the invention of pens with internal ink reservoirs freed writers to write anywhere. Today’s laptop and tablet computers also provide portability that allows you to write wherever you choose, and to bring your digitized reference materials with you.

My second guess is that most successful authors have caves. Those who churn out best-sellers might cite any of my 7 s-reasons for their own caves, but after awhile, it amounts to Security. They’ve found something that works and see no need to change.

That’s not to say that caves are essential to writing success, or that all the best authors have their own caves.

What does Poseidon’s Scribe’s writing cave look like, you ask? I used to have one, but don’t any more. I had a den that I set up with everything I then needed—spacious desk, shelves of books, inspirational framed pictures, internet connection, printer, supplies, etc.

Subway writing caveI don’t write there very much anymore. Now I write first drafts while commuting on the subway.

 

 

 

 

 

 

 

At home, I take my laptop wherever I’m close to an outlet, and it could be in any room, any seat, like Couch writing cave on the couch in the living room. In good weather, I sometimes write out on the deck.

 

 

 

 

 

In short, the world is my cave.

How about you? Do you write in a special place? What do you call it? What is it about that space that makes you want to write there?

Leaving a comment about that is your homework, assigned by—

Poseidon’s Scribe

They Don’t See What You See

If you aim to be an author, you must observe the world as a writer does. You’ll write better stories if you do.

When I use the word ‘observe’ I mean it in the general sense of perceiving by one or more of the five senses (or beyond those five, even). I’ve blogged before about conveying the five senses in your stories, but here I’m referring not to your characters, but to you perceiving the real world.

Writer ObservationBefore we get to writers, let’s discuss observation in general. While acknowledging there are other epistemological theories, I’ll assume there is a single, physical world out there, and each person observes it differently. Those differences are due to observations taken from different physical locations, accuracy of senses, mood, previous experiences, and many other things.

Observation, then, is a combination of a signal from one or more senses, and the mental activity resulting from the signal. We perceive with our senses and our brains.

Early in life, we discover the universe is too big and filled with too much stuff for us to see every little detail, so we learn to filter some things out. We focus on the parts we find most useful.

We recognize patterns, and form mental models of how the world is. That way we can tell at a glance if something doesn’t fit, and we can fill in the details we can’t sense but assume are there. Some people hone their senses to a fine degree of accuracy through practice, and some do not.

What does it mean to observe the world as a writer does? A good writer:

  • Considers the world as a source of story ideas, details, and descriptions;
  • Sees places as potential story scenes;
  • Notices people and incorporates aspects of them in story characters;
  • Hears all talking as potential dialogue;
  • Watches people when they’re experiencing intense emotions, so as to pick out appropriate appearance, expressions, and gestures for story characters;
  • Tastes food with the intent to describe it as a meal in a story;
  • Picks out the most telling details in real places or people, so as to better describe scenes and characters;
  • Goes ‘people-watching’ and imagines background stories for the observed people; and
  • Practices observing with all senses to improve both sensing accuracy and the ability to describe in words what is sensed.

You might doubt this advice will help in your particular case. Maybe the scenes in your stories look nothing like the world you live in, and your novel’s characters are completely unlike anyone you know or see. That’s common when writing fantasy or science fiction.

Even in such cases, it benefits you to practice and improve your powers of observation. That ability to pick out and convey the right details, in a manner that transports the reader to your fictional world, will help you no matter how unusual your scenes and characters are.

For further study, I recommend you read this WikiHow article and also this post by Maria Popova.

If you practice perceiving the world and people around you, really strive to develop that skill, one day you might achieve the acute observational prowess of—

Poseidon’s Scribe

February 28, 2016Permalink

8-Fold Approach to Marketing Fiction

You’ve spent innumerable hours all alone writing your book. That’s done; the book is published. All you have to do now is switch personalities, become an extreme extrovert, and market your book. For some, that’s easy and fun. For others, not so much. This post is for those who are confused by, and a bit scared of, marketing their fiction.

Marketing Your BookThere’s plenty of advice out there, both online and in excellent books, about marketing your stories. Many websites provide long lists with scores of tasks for you to do. It’s a bit intimidating.

My intent today is not to make marketing easy, but rather to break down the problem into chunks. Specifically, just eight chunks. I encourage you to explore the subject further. Read the long-list blog posts. Read the books. Watch the videos. But go into it knowing you won’t be doing everything they suggest. Nobody does that (because nobody can).

Your marketing campaign will be different from that of all other authors. Uniquely yours. You’ll do the things you can, the things you’re comfortable with. In time, you’ll stop doing the things that don’t work, and you’ll experiment creatively with new things.

What follows is my attempt to organize the marketing process into parts. There’s some overlap between them, because the process is interconnected as an integral whole, all focused on getting readers to buy your books.

  1. Plan the Campaign. Here’s where you do the advance thinking, figuring out your target audience, your approach, and your budget. You’ll study how others have done it. You’ll write out a marketing plan. You’ll consider timing your book launch for maximum effect, and create your launch strategy.
  1. Brand Yourself. In this step, you craft the picture of you that you want potential readers to have. This is about you, not your book, though your book must be a consistent part of the story, or image, that is you. Through your website, social media, author photo, e-mail signature, and practiced elevator speech, you’ll convey your intended brand.
  1. Explode Outward and Reach People. The goal here is to seem to be everywhere your potential fans are. Not in an annoying way, but suddenly they can’t stop noticing you. Wherever they are, you are, on podcasts, at conferences, book signings, social media, e-mail newsletters, interviews, etc.
  1. Think Like a Potential Fan. You need to put yourself into a reader’s place and make it easy to buy your book. Test out all the links and all your promotional material to ensure they aim toward the sale. You want every interested person to be able to buy your book with ease and without frustration.
  1. Tempt Future Readers. Work on your “curb appeal.” Ensure your website, book cover, author photo, book trailer, etc., are irresistible. Run contests, offer coupons, provide giveaways, show free book excerpts, and hand out swag.
  1. Create Buzz. The idea behind this might seem identical to Step 3, but this one is intended to leave others talking about you and your book. This involves book reviews, blog tours, press releases, entering contests, etc.
  1. Maintain Reader Connections. Here we think long-term and work on retaining your fan base, once initially established. Keep contact with loyal readers via newsletters, e-mail social media, etc.
  1. Manage Your Time. As I said earlier, you can’t do it all. You’ll have to budget your time; stop doing what isn’t working; schedule some time for each part of your marketing plan, and balance that with writing your next book.

This is just the start of your marketing journey. Read these excellent posts by Kimberley Grabas and Caitlin Muir for more in-depth information. By grouping the overall process into eight chunks, I hope this post has simplified and de-mystified the marketing game for you.

Oh, yeah. And buy all the books you can find by Steven R. Southard, also known as—

Poseidon’s Scribe

February 21, 2016Permalink

13 Rules for Writing Fight Scenes

Conflict is central to fiction. Not all conflict is violent, of course, but at some point, one of your stories might require a fight scene. Therefore, even if it’s distasteful to you, it’s best if you learn how to write such scenes.

Fight ScenesViolent interactions can take many forms beyond individual combat. These include war, rape, terror, shooting sprees, etc. This post focuses on fights between two characters, but many of my suggestions apply to other situations.

People use a variety of weapons when fighting, including bare hands and feet, clubs, knives, swords, guns, any object available in the environment, and a wide array of science fiction or fantasy weapons. Again, most of the guidelines for fight scenes are general, and applicable to any weapon type.

For the following list of fight scene rules, I drew from, and combined, ideas from the following people’s blogs: Joanna Penn, Angela BourassaAmber Argyle, and the contributors to Wikihow. They’re all great sources of information, and I recommend you read each one. Now, here’s my list:

  1. If possible, observe a real fight. Note offensive and defensive movements, tempo, exploitation of speed vs. strength, etc.
  2. Study fictional fight scenes written by great writers. Pay attention to details selected, sentence structure, word choices, and techniques used to heighten tension.
  3. Ensure your scene is relevant to, and advances, your plot.
  4. Consider using the fight to reveal or further develop the characters’ personalities, and maybe the story’s theme. SwordintheStonePosterMy favorite example of this is the “wizard’s duel” in the Disney movie The Sword in the Stone. During their fight, Merlin and Madam Mim are each turning themselves into various animals. Madam Mim’s animals emphasize power and strength; Merlin’s emphasize cunning and intelligence. The superiority of brain over brawn is the lesson Merlin has been trying to teach young Arthur, and is the major theme of the movie.
  5. Ensure you’ve established that both characters have appropriate motivation. Why is each one fighting? What does he or she hope to gain by winning? That helps the reader care about the outcome.
  6. Break up the lunges, punches, slices, gunshots, etc.—the mechanics and logistics of the fight—with short dialogue or description to keep from boring the reader. When using dialogue, skip the ‘said.’
  7. Don’t overdo the description of the fight itself; trust the reader’s imagination to fill in such details.
  8. Use short sentences, with few adjectives or adverbs.
  9. Weave in all five senses in the fight, to put the reader there.
  10. Show the Point of View character’s thoughts and emotions as the fight goes on. This is as important as the description of the fight itself.
  11. Ensure your word choices and detail selections are appropriate to the genre and your intended audience. A fight in a military thriller must be accurate, believable, and authentic. A fight in a romantic adventure should focus on the POV character’s feelings.
  12. Don’t forget about the aftermath of the fight, how much the POV character hurts, his or her feelings about the opponent, thoughts about whether the fight was worth it, etc.
  13. In subsequent drafts, cut to the minimum.

It’s my hope these rules will help you write effective and compelling fight scenes in your stories.

Not to brag, but your characters couldn’t last one round with characters written by—

Poseidon’s Scribe

February 14, 2016Permalink

The Well-Written Villain

Villains, or antagonists, have come a long way. During the history of literature, they may have evolved even more than heroes, or protagonists. We’ll discuss that evolution, and show you how to create a well-written villain for your story.

A villain is a character opposed to the protagonist, who is usually cruel and who may be involved with crime. Not all stories have villains. The word ‘villain’ comes from the same root as ‘villa’ and once simply meant ‘farmhand.’ Only later did the word get loaded down with evil connotation baggage.

VillainFor centuries, when much of literature served the purpose of inculcating morality, authors portrayed villains as one-dimensional characters devoted to pure evil. Writers made it easy for the reader to distinguish the villainous characters from the good ones, by appearance, speech, and actions. Authors provided no reason for the villain’s malevolent nature, nor were such reasons expected. The villain was just bad, that’s all.

Then a change occurred in literature, and villains evolved. From the timing, I associate it with the advent of psychology, the study of the human mind and behavior. I may be wrong about that linkage, but it makes sense to me.

Since the early- to mid-Twentieth Century, it has not been enough to portray a villain as purely evil, without explanation. Gone are the black cape, the curled moustache, and the menacing sneer. (Well, maybe you can use such a stereotypical character for comedic effect.)

The modern villain starts out as a normal person, indistinguishable from any other character. Something happens to that person; a disturbing event triggers a change in the way they think. (Rather than a single event, the character could be raised from childhood in a peculiar way, but then that way must have an explanation.) The character twists the event, obsesses about it, and it becomes a driving factor for later behavior.

As this happens, the villain may not change in outward appearance, so he or she will be indistinguishable from other characters. This warping toward villainy occurs only in the antagonist’s mind. The resulting villain will likely have many good, even endearing, traits, all while harboring a secret inner drive toward nefarious ends.

While writing your story, you’ll need to convey this explanation for your villain’s behavior, even if it’s backstory. No modern reader will accept a character who is evil ‘just because.’

Moreover, the chain of events must lead to the villain being opposed to the hero. The protagonist and antagonist are a matched set. Often, the villain’s desired ends have nothing to do with the hero, but the hero becomes the irritant the villain must deal with to achieve his goal.

To ensure your story is interesting and to give your protagonist a worthy problem to solve, the villain must be at least as smart and powerful as the hero. Your hero must strive beyond his or her own perceived limits, and suffer nearly insurmountable hardships to overcome the villain. But neither can your villain be invulnerable. You should depict your villain as being on a quest of his own, contending with problems where not all of his machinations work all the time.

In preparing this post I studied, and villainously stole from, other wonderful posts on this topic, including this one on wikiHow, the Wikipedia article on ‘Villain,’ and Hallie Ephron’s article in Writer’s Digest. I encourage you to read each one for more in-depth information.

Now you should be ready to create your own villain. With this blog post finished, I can get back to my fiendish scheme to take over the internet! Bwa-ha-ha-ha! Soon the entire world will bow down to—

Poseidon’s Scribe

February 7, 2016Permalink

Inside Each Other’s Heads

For a male writer (like me), it’s difficult to write a story in a female character’s point of view. I’ve read that it’s also difficult for female writers to get into a male character’s head and write realistic stories. Still, we’ve all read books by authors who did this very well. If others have done it; you can too.

writing opposite gender povAdvance warning: this post is full of opinions that may sound stereotypical and sexist. As a caveat, let me say the characteristics I’ll ascribe to women and men are generalizations. Not all men, nor all women, are as described below. There is plenty of overlap in thoughts and behaviors between genders.

Your goal, as a writer, is to produce an entertaining and meaningful experience for your readers. Say you’re female and your lead Point of View character is male. You want readers of both genders to enjoy the story and not get jolted out of it with thoughts of “No guy would think (or do) that!”

Of course, all fiction writing involves getting into someone else’s head, someone different from you. Even characters who share your gender have personalities unlike yours, so you’re always setting your own feelings and motivations aside as you write what someone else would think, say, or do.

Writing from the other gender’s POV is like that, only a bit more so. Think of the following suggestions as tendencies, directions in which to stretch a little without going too far.

For you male writers dealing with a female POV character:

  • Ensure she takes in the appearances of things, and notices minute changes over time
  • Have her look into other characters’ eyes
  • Employ more dialogue, especially small talk
  • Allow her to comment on others’ appearances, clothes, and health
  • Have her care more about other character’s feelings, and to validate them
  • Make her more willing to share her own feelings with others
  • Ensure she talks more about people, their connections, and feelings
  • Show her inner feelings more frequently and more deeply
  • Have her think about people as a network, where each person is on a spectrum between nice/good and mean/bad, and connecting lines between people are strong or weak based on how the two interact

For you female writers dealing with a male POV character:

  • As he takes in a scene, ensure he focuses more on the functions of things, even how he could use or change them
  • Have him look around more at a scene than into other characters’ eyes
  • Make his dialogue more sparse, with less small talk
  • Have him care more about other characters’ problems (and how he could solve them) than their feelings
  • Make him reluctant to disclose his feelings to other characters
  • Ensure he talks more about objects and abstract concepts
  • Have his thoughts move quickly from feelings to action (i.e. what is he going to do?)
  • Have him think about people as being in hierarchies, ranking either higher or lower than him, and how to treat them appropriately

Others have written about the process of creating a convincing opposite-sex POV character. For example, Author Shaquanda Dalton suggests focusing more on the similarities between the genders. She recommends concentrating on dialogue and getting help from opposite-sex beta readers. She also says that the thoughts of fictional characters will focus on the plot problem whether they are women or men, and won’t be significantly different. Lastly, she urges writers to observe real people to get ideas for character actions.

Author A. L. Sowards believes there are differences in the way men and women think, and a writer should keep these in mind. Women, she states, often stew over upsetting things longer, while men get angry but let it go quickly. Women think about many things at once, while men focus on one. She claims it’s untrue that women are more detail-oriented; it’s more a matter of interests. A female character might describe flowers using more specifics, but a male character would describe all the facets of a car engine in the same degree of detail. She advises writers to read books written by and about the opposite gender, and to get to know the character’s personality, strengths, and weaknesses well.

We may try, in our modern age, to dismiss any differences between the genders, but on average, there are some characteristics common to women and others typical of men. You should understand these differences, so you can become capable of writing from the POV of either gender.

Looking back, I’ve only done this with two characters in my published stories— Dr. Anusha Bharateeyanakshatra in “The Finality” and Galene in “Against All Gods.” It’s up to readers whether these female characters were realistically portrayed by—

Poseidon’s Scribe

January 31, 2016Permalink

Author Interview—Andrew Gudgel

Today I’m happy to welcome another fellow author who contributed a story to the Hides the Dark Tower anthology. It’s Andrew Gudgel, science fiction author, Chinese poetry translator, and a past winner of the Writers of the Future contest.

Andy GudgelHere’s the interview:

Poseidon’s Scribe: How did you get started writing? What prompted you?

Andrew Gudgel: I got interested in writing in high school–essays, poetry, stories. You name it, I tried writing it. I wrote a lot, all the way up through college. Then I went and joined the Army. For ten-plus years I did other things. Fortunately, writing was still waiting for me when I came back.

P.S.: Who are some of your influences? What are a few of your favorite books?

A.G.: I’m not sure I could nail it down to just a couple of authors because I feel a writer should be influenced by all the things he or she reads. But just to pick an example at random: Jorge Luis Borges’ “Ficciones.” He wrote such interesting stories, not only in terms of theme, but in style. Reviews of books that don’t exist. Descriptions of infinite libraries. Fictional worlds that become real and begin invading ours. Borges made me aware of possibilities in fiction that I’d never imagined existed.

I also think a writer–any writer–should read broadly in categories outside his or her preferred genre of writing, and for pleasure as much as for writerly education. For example, I read as much poetry and as many essays as I can, simply because I enjoy both.

P.S.: You recently completed a graduate degree at St. John’s College in their Great Books program. How has that affected your fiction writing?

A.G.: One of the best things about St. John’s is that you read the Classics in philosophy, religion, science, literature, politics, society and history. You learn that there are questions and themes that are eternal in literature and in life. (Plus it gives you plenty of neat ideas and material to snitch for use in your own stories.) It affected my fiction writing by making me more focused on character and what happens inside each and every one of us as we move through life. SF has the advantage that you can create situations and characters that don’t (or don’t yet) exist, which allows you to explore your characters and the human condition in ways other genres simply can’t.

P.S.: Your primary genre is SF, correct? How did you become interested in writing in that genre?

A.G.: I do primarily write SF, but will follow a story wherever it leads me, be that SF, fantasy or literary. I fell in love with SF early on–my father used to read Ray Bradbury stories to me and my brother on summer nights when we were little. And when I read H. Beam Piper’s “Space Viking,” it made enough of an impression that I still remember it, forty-odd years later. Plus I’ve always been fascinated by science, technology, and gadgets.

P.S.: What other authors influenced your writing?

A.G.: In terms of science fiction, Ray Bradbury, William Gibson, Charlie Stross, and Robert Heinlein. As for prose style, Seneca and Sir Francis Bacon. Both were writers of the short, pithy sentences I aspire to.

P.S.: In what way is your fiction different from that of other SF authors?

A.G.: I’m very interested in the human/character side of SF: how we interact with technology, how we’ll be different/the same in the future. I hear about these cool–but true–uses of technology that are completely unexpected, and that gets me excited and fired up to write. For example, in India, a tech company is using hand-woven silk strips for their diabetic test kits because it’s cheaper than imported plastic. That’s a low-tech/high-tech solution. Low tech in that it’s local weavers and hand-made fabric. High tech in that it’s a creative human solution to a pressing problem. When I write, I try to concentrate as much people on and how they solve their problems as on the technology itself.

P.S.: In Hides the Dark TowerPageflex Persona [document: PRS0000039_00001], your story is “The Long Road Home,” an exciting story involving an immense alien tower. Can you tell us about the protagonist?

A.G.: Wang Haimei is a “Tower Diver,” a person who uses parachutes and hydrogen balloons to explore the inside of a hollow building that’s ten-thousand stories tall. There’s nothing left of the aliens who inhabited the tower, except for the very rare artifact which makes the finder instantly (and incredibly) wealthy. Haimei has just the right combination of meticulous attention to detail, love of adventure, and desire to get rich that all true tower-divers have. But she lost her fiancé, Moustafa, in a tower-diving accident a year ago, and this trip is her first one back since then. When a jealous competitor sabotages her gear, Haimei decides to try and walk back up to the exit at the top of the tower, even though she knows she’ll die long before she gets there. She discovers a kind of quiet courage that keeps her from giving up. As she walks, she discovers she’s being followed—perhaps by an alien that’s remained behind, perhaps by the shade of one long gone. She comes to appreciate the company, though, and uses the time spent walking to come to terms with death–both Moustafa’s and hers.

P.S.: In addition to writing fiction, you translate Chinese poetry. Have you found that your translation work improves your writing of stories in English, or is there no connection between these pursuits?

A.G.: I’ve found that translating, and translating poetry, has had a big influence on my writing. Knowing another language lets you see the world in different ways and makes you aware of connections you might never have thought of. For example, in Chinese nouns have measure words. (They’re roughly equivalent to the word “cup” in “one cup of coffee.”) But every noun has a measure word in Chinese, and they’re often reused. Which groups nouns into “categories.” Snakes and rivers use the same measure word; clouds and flower blossoms share one, too; so there’s a linguistic relation between certain nouns in Chinese that doesn’t exist in English. Being able to see—and make—new connections has made my writing richer. And poetry is a compact, image-rich art form that requires you to pack a lot into a small space. Perfect for learning both imagery and economy of words.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

A.G.: I’ve got a couple of irons in the fire right now—revisions, that sort of thing. The one I’m currently working on is an alien invasion novel/novella, which focuses on different peoples’ experiences of the event, and in which the aliens are only ever glimpsed at. I was inspired by the fact that you never see the whole shark until near the end of “Jaws.” So the glimpses the characters get throughout the story—are they the aliens or just alien technology? I was also very interested on the effect of such as big disaster would have on people—both as individuals and in groups—and not making the aliens central to the story allows me to focus more on that aspect.

Poseidon’s Scribe: What advice can you offer aspiring writers?

Andrew Gudgel: I’m a big fan of aphorisms and mottoes, so I’ll keep it short:

  1. Nulla dies sine linea — Pliny (“No day without a line” i.e. write something every day.)
  2. Read as broadly as possible.
  3. If you try, you might fail. But if you never try, you’ve failed already.
  4. As long as it fits the guidelines, don’t self-reject a piece by not submitting it.
  5. Write, submit, repeat as necessary.

These are all the old saws, but there’s a reason they’re still around: they work.

 

Thanks, Andrew! All my readers will want to surf over to your website to learn more about you.

Poseidon’s Scribe

January 24, 2016Permalink

The Envelope Please…

All the votes are in, and the critters.org site has released the unofficial tally of their critters_header2015 Preditors & Editors Readers Poll. In the Horror Short Story category, Steven R. Southard’s RippersRing72dpiRipper’s Ring” came in…

…drum roll, and dramatic pause…

4th out of 17.

That’s great, and I’d like to thank all the wonderful people who voted for my story. It’s an honor to make the top top10shortstoryhten (top five, even) of the nominated horror short stories of 2015. I’m proud of “Ripper’s Ring” and gratified that readers think enough of it to send in their votes.

One caveat—apparently the results are unofficial at present. If those standings change, you’ll learn that news right away from—

Poseidon’s Scribe

January 17, 2016Permalink

Character Relationship Maps

Try as you might, some of you can’t help but read my blog. Perhaps it’s like a horrible highway accident; you just can’t avert your eyes. You regular readers know, then, that my mind favors images, graphs, and pictorial displays, and that’s what I’ve got going on today.

It isn’t that I disdain text; I am a writer, after all. It’s just that a picture is worth a thousand words, so when I need information in a condensed form, it’s hard to beat a graphical chart.

When a writer sets out to craft a story, it can be difficult to keep all the characters in mind. One technique for doing so is to use a Character Relationship Map (CRM). Like a mind map and Root Cause Analysis motivation chart, this map is something for your use alone. No reader will see it, so you can make up your own format.

Star Wars Character Relationship MapThe one I’m showing here, for the first Star Wars movie, A New Hope (Episode IV), is for illustrative purposes only and is not complete or necessarily accurate. My only intent is to show one possible example for a case familiar to most readers. To see many other sample Character Relationship Maps, do an Internet search for that term and click on images.

The CRM depicts, on a single page, all the relationships between all your story’s characters, or at least the major ones. Having this map before you as you write the story will help you keep these relationships in mind. Note that your story must contain written evidence of each relationship. If not, the reader will not know the relationship exists.

Another advantage of a Character Relationship Map is to ensure you create and understand the relationships yourself. Each major character should have some arrows going out and some going in. Each major character should have arrows connecting to all other major characters.

You might think a CRM would be useful only for novels, or other stories with plenty of characters. However, such maps can be helpful even for short stories with as few as two characters. As I mentioned in an earlier blog, you could connect two characters with four relationships using four lines. Use one line to depict how Character A feels about Character B internally, another line to show how A behaves toward B externally, and two more lines to represent the internal feelings and external behavior of B toward A.

Relationships can be complex. A good author shows some amount of friction, or at least tension, between even the friendliest or most loving characters. Why? Conflict is central to fiction. No two characters are alike, so they will think differently and there will be some level of uncertainty, some speck of doubt or occasional distaste even between the closest and most devoted characters.

To make your CRM more beneficial to you, consider using colors and line thicknesses or shapes to represent other aspects of characters and relationships. For example, you could use box colors to represent character gender, where they stand on the good-evil spectrum, or some other attribute. You could use line thickness to indicate the intensity of the relationship. You could use line shape to indicate the type of relationship, perhaps curved lines for friendship and jagged lines for enmity.

Characters, and their relationships, change through the story. You could show that by means of two maps, one showing the before state, and the other the after state. Or you could find some method of picturing the change on a single map.

Have you used a Character Relationship Map? If so, did you find it helpful? Leave a comment for a rather colorful character known as—

Poseidon’s Scribe

January 10, 2016Permalink

Vote for Your Favorite Story of 2015

Happy New Year! It’s time again for the Critters Writers Workshop to conduct their Preditors & Editors Readers Poll (their 18th) to see which newly published e-book readers prefer.

critters_headerYou can vote for your favorite book in a wide variety of categories. It’s not really a scientific poll, but winning it (or landing in the top ten) gives each author some bragging rights.

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One of my stories, “Ripper’s Ring,” is in the Horror Short Story category, and is currently second of ten in votes. In the Anthologies category, two books contain other short stories I wrote. The two anthologies are Hides the Dark Tower and Avast, Ye Airships! The links in this paragraph and the book cover images take you straight to the correct poll category to vote.

To vote, click the button beside your favorite story’s (or anthology’s) title, then enter your name and e-mail address, then scroll to the bottom where you’ll see the image of a book’s cover (not mine). Type the author’s name of that book in the box to prove you’re not a spam robot. You’ll receive an e-mail to confirm your vote; just click the link in the e-mail and you’re done. Please vote before January 14, when they close the polling.

Whether you’ve read “Ripper’s Ring” or the anthologies, or not, this is a great way to start 2016. If you haven’t read my stories, you might feel prompted to buy them and read them. If you have, then it’s a great way to show your appreciation to—

Poseidon’s Scribe