Preparing Your Book for Self-Publishing

In the previous post, we mentioned why you might choose to self-publish your work. You may have backlist titles to reissue or have a nonfiction project you want to publish or prefer to go indie to take control of your writing career. Depending on whether these are older titles or new ones, your approach to indie publishing may be different.

Older Titles

If you wrote your books back in the day when we mailed our works in, you might have to hire a scanning company such as Blue Leaf to scan in your published works. You’ll need a print copy to send in, and it won’t be returned. Send the version that’s the most up to date, i.e. later paperback instead of original hardcover.

After receiving your digital copy, review the story to correct formatting errors. Turn on the paragraph symbol in Word and look for weird symbols in between letters, missing or wrong punctuation, misinterpreted words, and misspellings. Search for ^- or an optional hyphen. Look for “die” instead of “the” or the number 1 instead of “I.” Italics might be missing or bolded instead. Look for “rn” coming out as “m”, such as “comer” instead of “corner.” In other cases “tly” might come as “dy”, as in “slighdy instead of “slightly.” Quote marks might be reversed, or there could be section breaks instead of page breaks.

If your publisher has provided you with a final pdf file, or you’ve downloaded an ebook file, you can use Calibre Ebook Management or Zamzar to convert it into Word.

However, the formatting may be messed up. In this case, copy the entire document onto a blank sheet and save it as a text file. Click on Clear Formatting symbol. You will lose italics but any weird justifications will be gone. You’ll have to read through the story adding in italics and space breaks as needed.

Determine if you will re-edit the work or make major revisions. You might find your writing has changed greatly in the interim, and what you’d published before, although professionally edited at your publishing house, isn’t up to your current standards. So go through and make corrections. Don’t forget to update technology and remove any dated references.

Original Works

Use a program such as Smart Edit (https://www.smart-edit.com/) to look for redundancies and repetitions. Revise your work as many times as necessary to give it professional polish. Ask beta readers to critique your story. Make it the best it can be and don’t be impatient, or your lack of care will show in customer reviews.

For a full-length original novel, I strongly recommend that you hire a developmental editor and possibly a copy editor. Join author groups online and ask for names of editors who have experience in your fiction genre. You don’t want the local newspaper editor or English teacher who’s your friend. Fiction is about structure and pacing along with many other elements. You need an editor familiar with genre conventions. Experience at a publishing house is a plus.

The next step will be to solicit Beta Readers. These are fans who are familiar with your prior work or who volunteer if you send out a request via your newsletter or Facebook page. Write down what type of feedback you want and set a deadline for a response. It’s amazing what these diligent readers will find. They’ll also tell you what works and what doesn’t from a reader’s viewpoint.

Preparing Your Book for Self-Publishing #indiepub #writingtips Share on X

The main point of this article is to make sure you have a polished, edited work that you’ll be proud to publish. Once you have the manuscript ready to go, you’ll need to add front and back material. Look for my next blog on this topic.

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Strengthen Your Chapter Endings

It’s imperative for pacing and suspense in your novel to keep the reader turning pages. We’ve discussed End of Chapter Hooks here before. If you have a weak ending, it’s tempting for readers to put down your book. This isn’t what you want. You need an element to strengthen your chapter’s final words.

Here’s an example of a weak ending from Trimmed to Death, my work-in-progress. Marla is speaking to Nicole, another hairdresser, at her salon.

“Dalton wants to take a drive north on Sunday. He says the Kinsdales have a cousin in central Florida who owns an olive grove. This man might be able to shed some light on matters.”

Nicole chuckled, a low throaty sound. “Sounds like a good excuse for a day trip. Relax and enjoy the outing. You don’t have to be back at work until Tuesday.”

This passage illustrates another item to watch for when editing your work. Don’t repeat information your characters already know. Why would Nicole tell Marla that she doesn’t have to be back at work until Tuesday? Marla knows her days off.

Here is how I changed this into a better ending, at least for now. I might work on it further, but this one is an improvement over the previous version. Let me know what you think.

“Dalton wants to take a drive north on Sunday. He says the Kinsdales have a cousin in central Florida who owns an olive grove. This man might be able to give us some answers.”

Nicole chuckled, a low throaty sound. “Sounds like a good excuse for a day trip. Relax and enjoy the outing. Temps are supposed to be in the seventies. Take advantage of the good weather while it lasts.”

Marla should heed her words. Even though the winter months could bring cold air to the south, the next storm season was always around the corner… same as the killer in their latest crime case.

This edition might not be perfect, but it’s better than the first. And so it goes when you line edit your work. Strengthen your sentences and chapter endings so they have more of an emotional impact.

Strengthen your Chapter Endings #amwriting #writetip Share on X

Stay in Viewpoint

As a beginning writer, I didn’t understand what it meant to stay in viewpoint. I was guilty of bouncing heads, or switching viewpoints within the same scene. This confuses readers because they become unsure of who is the main character. You should stay within one person’s head or else use a space break to delineate a change.

Books in the thriller genre often use multiple viewpoints, a technique that can work as long as there’s one clearly identifiable hero. If not, your reader isn’t going to care about any of the characters. Sure, you can catch their interest using bait and switch tactics. This means, you leave off each scene with one person in jeopardy before switching viewpoints with a space or chapter break. But get inside too many different heads, and the reader will cease to care. Maybe this is why I like single third-person or first person viewpoint in the mysteries I read. In a romance, it’s standard to alternate the hero and heroine’s viewpoint and sometimes this includes the villain as well. That’s okay as long as the character switch is well marked.

In revising Keeper of the Rings, one of my earlier romances that I wrote originally as Nancy Cane, I caught a perfect example of changing viewpoints in the same scene. Here’s an example:

[B’s viewpoint] Wellis, the village priest, had requested Bendyk’s presence. Now, as he sat across from the older man in the living room of his oceanfront bungalow, Bendyk fingered the medallion hanging from his neck.

“I fail to understand your meaning when you say people are straying from the Faith.” He squared his shoulders. “The turnout at the service this morning was phenomenal.”

“That’s because the villeins are putting on a pretense of piety for your benefit.” Wellis wagged his finger. “They’re afraid you’ll report to the Docent about their indiscretions.”

[W’s viewpoint] Pursing his lips, Wellis felt he should know his flock better than any representative from the central authority, such as Bendyk Worthington-Jax. He’d sent for help, realizing the situation could get out of control. After all, on whose head would the wrath of Lothar fall if he failed? His own, of course. But the golden-haired missionary, despite his zeal, had found nothing amiss.

It wasn’t Bendyk’s fault, considering how fearful the villeins were about retribution. The blasphemous talk circulating throughout the town was bound to bring dire repercussions. Wellis had hoped Bendyk would inspire a renewal of faith and, indeed, the service he’d conducted this morning had been exemplary. Perhaps his visit had done some good after all.

Bendyk faced him across a table laden with fresh fruit and nuts. The young man quirked an eyebrow. “Don’t forget it’s tithing time. The tax collector is here, even in the midst of Renewal celebrations. That’s enough cause for heightened tension.”

Wellis gave him a weary smile. “Not in this case. We’ve been fortunate to have the same agent each year. She counts in our favor and exacts a toll of ten percent on less the amount actually produced.”

Bendyk’s eyes darkened to a shade of indigo. “You mean this agent reports an inaccurate count? Why, that’s a criminal offense.”

Wellis leaned back in his chair, relishing the warm salty breeze blowing in from the open windows. His bungalow, a short distance from the ocean, stood on stilts like the rest of the houses by the shore. Further inland, other dwellings rose along a gentle slope that footed the Jerrise mountain range.

His congregation enjoyed a simple life living off the bounty of the sea and their industries of ropemaking and small boat construction. No one had enough revenue to fuel an investigation, so he didn’t see any harm in telling Bendyk of the tax agent’s favoritism.

“It appeases people,” he said with a shrug. “There’s enough grumbling about laws that don’t take into account the needs of individual districts.”

Bendyk scraped a hand through his short, wavy hair. “That’s not true. The Docents are responsible for making adjustments. If they rule unfairly, you can appeal to the Candor.”

“The Candors are concerned mainly with their own wealth. Things have gotten out of hand.”

Bendyk shot to his feet. “My father is a Candor. He’s always judged his people fairly and considered their needs.”

[B’s viewpoint – we can’t see if our own eyes look shrewd] Wellis regarded him with shrewd eyes. “Cranby is an exception. Do you deny that dissatisfaction with the Synod’s power is growing? Aren’t your services widely in demand in an attempt by local priests, like myself, to stem this tide of disloyalty?”

[W’s viewpoint] “It is the work of the Truthsayers.” Bendyk’s jaw clenched. “They seek to undermine the Faith and establish anarchy in its place.”

Footsteps sloshed outside, and Wellis held up a hand to silence his guest. “Hush, here comes the village council. I have summoned them to hear your advice. Go easy, young man. Your fiery tongue does you well in sermons but not in debate.”

I decided this scene should be told from Bendyk’s viewpoint since he’s a major player in the story. So here’s the new scene. See if it flows better and keeps your interest more.

Wellis, the village priest, had requested a private audience with him. Now, as he sat across from the older man in the living room of his oceanfront bungalow, Bendyk fingered the medallion hanging from his neck.

“I fail to understand your meaning when you say people are straying from the Faith,” he said. “The turnout at the service this morning was phenomenal.”

Wellis wagged his finger. “That’s because the villeins are putting on a pretense of piety for your benefit. They’re afraid you’ll report their indiscretions to the Docent.”

Bendyk tightened his lips. No doubt Wellis felt he knew his flock better than any representative from the central authority. But the priest had sent for help, realizing the situation there could get out of control. After all, on whose head would the wrath of Lothar fall if he failed? Yet the blasphemous talk circulating through town wasn’t evident during Bendyk’s inspection. He wasn’t surprised, considering how fearful the villeins were about retribution.

Wellis had hoped his arrival might inspire a renewal of faith. In truth, the service Bendyk had conducted this morning had been exemplary. Perhaps his visit had done some good after all.

He faced the priest across a table laden with fresh fruit and nuts. “Don’t forget it’s tithing time. The tax collector is here, even in the midst of Renewal celebrations. That’s enough cause for heightened tension.”

Wellis gave him a weary smile. “Not in this case. We’ve been fortunate to have the same agent each year. She counts in our favor and exacts a toll on ten percent less than the amount actually produced.”

“You mean, this agent reports an inaccurate count? Why, that’s a criminal offense.”

Wellis leaned back in his chair, while a warm salty breeze swept in through open windows. His bungalow, a short distance from the ocean, stood on stilts like the rest of the houses by the shore. Further inland, other dwellings rose along a gentle slope that footed the Jerrise mountain range.

“It appeases people,” Wellis said with a shrug. “I hear grumblings about laws that don’t take into account the needs of individual districts. My people enjoy a simple life. They live off the bounty of the sea, plus their industries of rope-making and small boat building. No one earns enough revenue to warrant an investigation.”

“That’s not true. The Docents are responsible for making adjustments. If they rule unfairly, you can appeal to the Candor.”

“The Candors are concerned mainly with their own wealth. Things have gotten out of hand.”

Bendyk shot to his feet. “My father is a Candor. He’s always judged people fairly and considered their needs.”

“Cranby is an exception.” Wellis regarded him with shrewd eyes. “Do you deny that dissatisfaction with the Synod’s power is growing? Aren’t your services widely in demand in an attempt by local priests, like myself, to stem this tide of disloyalty?”

“It is the work of Truthsayers. They want to undermine our Faith and establish anarchy in its place.”

You may have noticed that I polished up the prose as well. So what do you think? Were you better able to identify with Bendyk in the second sample?

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Stuck in the Middle

While writing a novel, you are plodding along during the first half of your book, and all of a sudden you come to a halt. Now what? Are you stuck in the middle of your story?

It’s too soon to start the revelations leading to the killer or to the romantic resolution. You need more material to make your word count. It’s also a good spot for a turning point in your plot. So what do you do? You face the blank white page and experience a sense of fear that your story will come up short. You’ve reached the dreaded Muddle in the Middle.

Do not panic. Instead, read your synopsis over again or review your chapter-by-chapter outline. Haven’t done them? Do so now. Reviewing what you’ve written will reveal plotting elements you might have forgotten or personal threads you can expand on. Here’s what else you can do:

Raise the body count.
This is especially easy in a murder mystery. Just throw in another dead body. Who is dead and why? Who could have done it? How does this deepen the primary mystery? Could two different killers be involved? What if this victim was your prime suspect? Who does that leave? A whole new investigation will start based on who is dead, and it may throw your sleuth’s earlier theories out the door. Now she has to go in another direction for answers.

Have an important character go missing.
If a character disappears mid-point in your story, that’s going to disrupt everyone’s plans. Is this person in jeopardy, or is he guilty of perpetrating the initial crime? Did another bad guy betray him? Or is this act staged, and the person isn’t really missing after all? How do your other characters feel about this missing person? Was he loved or despised? What efforts are being made to find him? How are the police treating his disappearing act?

Introduce a new character who shows up unexpectedly.
Think about a secret baby, secret lover, or secret sibling. Or a secret spouse. What is this person’s role in the mystery? How does his appearance change the investigation? Who was keeping this character’s identity a secret? This would be the time for that secret baby to come to light or the past husband no one knew about or the former girlfriend with a grudge. Or it could be someone who’s heard about the case and wants to cash in somehow. Could this new arrival be a fraud? How does his presence affect the other characters?

Resurrect a character thought to be dead.
This is possible if a death was staged, meaning no body was ever found, or the corpse was not identifiable. Is it someone who’d been gone for years or whose alleged murder started the current investigation? What made this person decide to reappear now? Or, what is the clue that leads the sleuth to believe this guy isn’t dead after all?

Steal a valuable object or return one.
Why was this item taken? Is it a clue to solving the mystery? Does it relate to another crime? Who took it and why? Is it meant to be a distraction from the murder investigation? Or was it part of the same crime all along? In the reverse, you could have a valuable object turn up, like a missing will or a more recent one that names a different heir.

Build on secrets and motives already present.
If you’ve laid the proper groundwork for your story, your characters have enough secrets, motives and hidden depths that you can explore as the story moves along. Write down each loose end as you review the high points and make sure you go down each trail until that thread is tied. Usually you’ll find you have enough material already hiding among your pages. Snippets of suspicions your characters mentioned can be plumped out until laid to rest. So give your people enough layers that peeling the onion takes the entire book. Except just when you thought you knew it all, throw in another twist like one of the points above.

What are your tips for getting through the muddled middle?

Stuck in the Middle of Your Story? #amwriting #writetip Share on X

Creatures and Story Creation

Writers can spin stories out of thin air. Yes, it’s true. We grab ideas out of the effluvia around us. Soon we’re building a novel. The characters gel, and the setting takes on detail. And then we’re off, pounding at the keyboard, the fervor of creation keeping us in its grip.

Let me give you a demonstration.

The other day, my husband and I enjoyed a sunny afternoon at Morikami Museum and Japanese Gardens in Delray. Florida may have changeable weather in the winter, but we have no snow, sunny skies, and colorful flowers.

Birds fly down here in the colder months to share space with ducks and turtles that grace our neighborhoods.

We also have a variety of critters we’d rather not meet up close and personal. Witness this guy we observed during our visit to Morikami.

Here he is enjoying a meal. Thank goodness iguanas eat plants and not people.

Places like Morikami remind me of why I became a writer. When I sit on a bench and gaze at a lake or tread upon dead leaves through the forest, I let my imagination soar to other worlds. And so here we go with an example of how easy it is for a writer to start a story under any circumstances. We are walking along a wooded trail surrounded by tall trees and leafy foliage.

Mystery: I’m a tour guide/curator/director leading a group through a botanical garden. Our continued funding depends upon the success of this excursion as does my job security. All is going well until one of our party goes missing and later turns up dead…murdered. Whodunit? Is it the real estate magnate who covets the property to turn into condos? The chief curator at a rival attraction? A meandering spouse who saw the tour as a good opportunity to make his partner disappear? A politician whose stance on public safety will lift his status on the campaign trail? The mystery deepens as I begin my investigation and learn that each person in the group has a secret to hide.

Romance: I’m sitting on the park bench when a cute guy sits beside me. He wears a camera with a big lens around his neck. With a sexy grin, he peers over my shoulder and asks what I am sketching. We get to talking. I love the dimples that crease his cheeks when he smiles. But I’m dismayed when he tells me he’s the photographer assigned to the article I’m writing. Oh, no. How will I keep my professional distance when all I can think about is jumping his bones?

Horror: Patrons have vanished from the trail around the lake. Other guests have reported hearing strange noises in the brush and glimpsing a reptilian tail. But my friends think it’ll be a hoot to stay here overnight. We’re all drinking and having fun after dark until Ada is pulled screaming into a clump of trees. No one sees what grabbed her, but she’s totally gone except for the blood. We pack to leave and go to call for help, but our cell phones have no service and the road is closed due to flooding ahead. We’re trapped there….

Science Fiction: With my laser weapon strapped to my hip, I patrol the woods. My acute sense of smell tells me the creature is near. Anticipating the bounty for my catch, I track its life form on my portable viewer. My client will pay a bonus if I capture the specimen alive. All I have to do is net the prickly ardtrunk and transport us both to my flier.

Fantasy: I halted at the Japanese rock garden, admiring the combed gravel. At the far end, a pair of white stone statues guarded the display of Bonsai plants. A sense of peace washed over me as I stared at the small, glittering stones on the ground. They’d been raked recently, with a spiral pattern leading one into the other like a miniature maze. I’d been drawn to this place, never realizing the oasis sat just outside the city beyond the Fae Woodlands. I glanced to my right, where the air under a painted red archway seemed to shimmer. My heart raced as I approached. I could no more stop my feet from stepping across the threshold than I could stop my breathing. And that’s when the world tilted….

YA Fantasy: Oh Gawd, why’d my parents have to bring me to this boring place? They might enjoy the trees and plants, but nature isn’t my thing. Give me my cell phone and a Diet Coke, and I’m a happy sixteen-year-old. I took out my cell phone to text Marlene and tell her what Randy had said to me in math class, but the dang thing wouldn’t connect. “Hey, Ma,” I yelled, glancing up. “When are we leaving already?” Oh great, I couldn’t see my folks anywhere in this freakin’ garden. They must have gone up ahead. Wait, that hedge hadn’t been there a moment ago. And where did that weirdo come from? The short little guy stood staring at me as though I had come from Mars.

Isn’t this fun? Which story do you like?

As you can see, storytelling is in my blood. I can’t stop playing the “What If?” game. Where do you go for inspiration?

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Story Magic

I’ve written on this topic before, but it continues to astound me. Facing the blank white page again this morning, I wondered how I’d ever fill my page quota. My characters had just been captured by the bad guys. They’d been isolated from each other, and I had no idea how they would escape. But when I started writing and entered the Zone, as we writers call it, the story just took over. I went into a trance-like state, where I’m not aware of my surroundings. I visualize the story and the words just come out. Before I know it, my page quota is done.

In today’s section, my heroine is taken to the enemy commander. During their conversation, she learns things important to the plot. She’s dragged away for interrogation. This segment concludes the chapter. The next chapter will switch between her viewpoint and the hero’s. They’ll each gain information, and a new character will be introduced. I don’t have to worry about that today. I finished my pages and can move on to other things, like writing this blog.

I’m also proofreading the eBook version of Moonlight Rhapsody, one of my earlier futuristic romances. Then there are the social networks, listserves, and numerous other promotional activities to keep me busy. Did I mention that I’m meeting a friend for lunch and have errands to do? Thank goodness I finished these pages early because now it’s time for the exercise bike.

This book is taking off already because I know the characters. It’s the second volume in the series, and I laid all the groundwork in book number one. Unlike a mystery with numerous suspects that have to be introduced for the first time, this paranormal romance focuses on the hero and heroine and the various secondary characters they meet during their journey. The hardest thing is remembering the mythology I created, but I have enough notes to help me along.

Whoever said (and I’m not exactly sure if this is correct), “I hate writing, but I love having written,” is right, although it’s the blank page I hate. I love having written once the story magic takes over and words fill the pages.

New Age Research

Today’s global communications allow for more ease of research than in the past. I’m writing a scene that takes place in an Asian fortress. Through a search on the Internet, I found the perfect model for my citadel. I moved it to a Pacific island where my characters have crash landed their airplane. They plan to scout the premises but are captured by the bad guys.

The soldiers march Paz and Jen to the fortress, which I’ve renamed Shirajo Manor. But now what? Thanks to images on the Internet, I can take a virtual tour of my model palace. So I look at them slide by slide, and describe the scene as I go. You can follow the tour here, too: http://www.himeji-castle.gr.jp/index/English/

Isn’t that cool? I can picture this place now, rife with winding paths, maze-like manicured grounds, medieval gates, and stone stairways. I can see the shady trees overhanging the paths. I can go inside and walk down the long corridors lined with heavy wood doors, imagining my injured hero locked inside one of the rooms while the heroine is dragged away to see the evil commandant, General Morar.

This brings up the next problem: How do they escape? Paz and Jen are separated. Our hero gets locked in a dungeon. Jen is given to the general’s wife, a scientist who conducts experiments on humans. How will she escape and find Paz? How will they pass through the successive gates guarded by armed troops, choose the right paths designed to confound invaders, and reach the exit?

Worry about it later, as my heroine in Book One of this paranormal series says. And so I shall, unless YOU give me a clue as to how these characters can escape?

Backstory

One of the most common problems in new writers’ works is the insertion of backstory into the first chapter of their book. Nothing else kills the pacing quicker than paragraphs heralding back to some past event in the character’s life. Maybe it’s necessary to relate some of these facts, but they can be done in a less intrusive manner. You must keep the action moving forward. The reader wants to know what’s happening now, not twenty years in the past.

So how do you deal with this burning issue? Here are six tips to get you started.

1. Leave backstory until later. Is it absolutely essential to the core of the plot as the story opens?
If in doubt, leave it out. The story should start with some sort of crisis or change that propels your character to take action. Let the reader wonder why this is happening until your character can take a breather and reflect on what’s going on . That shouldn’t occur until at least the second chapter. Remember to end the third chapter on a hook, because this proposal is your selling tool. Kill the pacing, and kill your chances for publication.
2. Filter past events in gradually, not in one info dump. Only reveal what is necessary at that time in the story.
3. Leave some elements purposely out to create a mystery. The reader will keep turning pages to see what happened between your people in the past or why your heroine feels this way.
4. Add in the backstory through dialogue whenever possible. Let your character tell her story to someone who doesn’t already know it. Or have two characters gossip about your protagonist. If you’re in her viewpoint, she could overhear or one of them could mention it later. Find ways to work it in so that it’s interesting to the reader.
5. If you want to relate the backstory from your protagonist’s viewpoint, offer tidbits of past history a line or two at a time. Or segue into the past in a quick paragraph with a sensory element that ties the past and present together. The idea is not to get bogged down. Keep moving forward!

How do you deal with this problem?

Characters and Collectibles

While thumbing through a recent mail-order catalog, I began to wonder what items my heroine might select. This gave me the intriguing idea of assigning a collection to each protagonist. You can learn a lot about your hero or heroine from the knickknacks found in his or her house. Perhaps your heroine presents a tough exterior but indulges herself by wearing lacy lingerie. Or your hero, who seems a sensitive type, harbors an assortment of evil-looking knives in his drawer. This one might work especially well in a mystery.

What are some of the items your protagonist might collect? How about porcelain figurines, i.e. cats, dogs, birds, or children? Letter openers, music boxes, sports memorabilia, clocks, models of airplanes or cars? For works of art, does he prefer expensive paintings or framed posters? Sculptures or tacky souvenirs? What about religious ornaments, decorative plates, bead jewelry, antique coins, or crystal paperweights? How about porcelain thimbles portraying kittens, castles or cottages? Fantasy figures like angels, wizards, and unicorns? Or maybe icons from a popular TV show.

What books and magazines does he read? Are they strewn about the cocktail table for show, or are they askew on an unmade bed? Are the pages ragged, corners folded in, or is an elegant bookmark used for a book in pristine condition? Don’t forget the office, too. What do they have on display on their desk?

For inspiration, check out those unsolicited catalogs you get in the mail or browse the Web. Look through the magazine section in your local bookstore. You’ll see magazines for all sorts of hobbies. Ads can give you other ideas.

Next time you’re in someone else’s house, be nosy and snoop out their shelves.

Think about why your hero or heroine collects a particular item. Does it express a hidden desire, reveal a facet of his/her personality, expose a touching sentiment? Even owning nothing of a personal nature can make a statement in itself. Have fun delving into the intricacies of your people’s hobbies and describe the precious tchotchkes through their eyes. Adding these details will give an added dimension to your writing and more depth to your characters.

Character Development

Creating characters for a novel can be torturous as well as stimulating. Initially, I decide who will be the victim in my mystery and then by association, the suspects pop up. I give each one a secret that could be a motive for murder. Next it’s time to pull out my character development sheets and label each one with the name of a player. Okay, how do I turn these pages into people? First I look in my photo files. In SHEAR MURDER, #10 in my Bad Hair Day mystery series, Jill’s Uncle Eddy is a shifty attorney. So I look through the pictures for someone who looks like him.

Nah, this guy is too young. Eddy is middle aged. Wait a minute. How is he related to Jill? I stop to devise Jill’s family tree. Now I know her grandparents had three children: Eddy, Sarah, and Luke. Cousin Kevin, another suspect, is the son of Luke, while Jill and her sister Torrie are offspring of Sarah’s. I may have to figure out their ages later, but for now, I know Eddy is middle-aged. Back to my files. Who looks like him?

Wait, this guy is perfect! He looks JUST LIKE UNCLE EDDY! And the woman in the photo with him is great for Eddy’s wife, Alexis. Oh, he’s married? Of course! And her manly features and his weaselly looks tell a lot about them. i.e. Torrie and Jill call his wife “Auntie Al” behind her back because of her throaty voice, big-boned frame and square jaw. So now I go down my Character Development Tool. This is a shortened version:

Name: Eddy Rhodes

Career: attorney.

Physical Features: florid complexion like he’s been running, deep-set eyes under prominent brows, thundercloud gray hair, double chin, wide forehead.

Favorite Speech Phrases: “Oh, come on.”

Lifestyle Preferences: Big tipper, big mouth, big smile, big house

Dark Secret: Accepts kickbacks and bribes

Ruling Passion: wine connoisseur–wine cellar, wine tours, wine clubs

Dominant Trait: Balding, obnoxious loudmouth

Short-Term Goal: make more money

Long-Term Goal: retire in style

Concrete Symbol: chateau-like house

Motivation: Teased as a child for being overweight, Eddy has to best everyone to prove his worth. Middle or younger child.

Internal Conflict: Need for praise

External Conflict: Inflation prevents retirement and so does a son with ongoing health problems

Strengths: Generous, likes to contribute to charities…but always needs money.

Flaws: Greedy, drinks too much, cowardly in confrontations.

Realization leading to change: not applicable. This may occur during the course of the story but it’s more a tool for the main characters.

Now what about Falcon Oakwood, the bigwig developer in the story? Hey, this picture is perfect. It even shows his wife Leanne. But who’s that older lady in the photo? Why, it’s his mama! So that’s why Leanne is having an affair with [other suspect]. She craves her husbands’s attention but Falcon considers his mother over his wife.

The process repeats with the other characters, until I’m ready to meet them on the page. All of this info may not make it into the story, but it gives me a springboard to begin writing.

Creating Characters for your Novel Share on X