Scenes and Series

When you’re writing a series, you need to be aware of scenes written in previous books that might impact your current story. Has your sleuth encountered a similar character before, researched a familiar topic, or visited the same place? If so, this might change how you approach a scene for your work in progress.

During my revision for Star Tangled Murder, #18 in the Bad Hair Day Mysteries, I had two scenes that made me realize more research needed to be done. One involved a local history museum and the other a casino run by a Native American tribe.

It suddenly hit me that this wasn’t the first time for either scenario. Marla, my hairstylist sleuth, had an episode in the same museum curator’s office in Trimmed to Death. And she’d interviewed a shaman at a Seminole casino in Hanging by a Hair. I realized I had better look up what I wrote before so I don’t contradict these previous settings.

My casino descriptions didn’t match. This fix was easy. Billy, the shaman in the current story, would work at a different gambling hall. I added a few lines bringing back Marla’s memories of visiting the other place for a prior case.

Regarding the local history museum, again my description didn’t match what I’d written before. That meant I had to modify what I’d written this time around since it was the same place. No need to reinvent the wheel in this instance.

The same precautions apply to conversations. Are you relating what two characters might already know about each other? How much background do you need for new readers without repeating information? This requires a delicate balancing act. It’s best to sneak in this info in small doses.

These are only a few of the hazards in writing a series. You have to remember what came before not only so you don’t repeat yourself but also so you get descriptions right and have your character reflect upon similar incidents from the past.

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Plotting Questions For Mystery Writers

Your main goal in writing a mystery, or any kind of fictional work, is to create story questions in the reader’s mind. This creates suspense that you need to propel the story forward. Even as you are plotting the book, assuming you’re a plotter like me and not a pantser (figuring it out as you go), you need to keep asking yourself ongoing questions.

Let’s take a story I have in mind as an example. The setting is a historic house. Suspects may include the head docent, the owner or owner’s children, a board of trustees if they own the place, the gardener, café manager, and gift shop lady. Objects are being stolen from this house one at a time so the theft won’t be noticed. So here we come to several questions.

Why is someone stealing valuable objects?

The thief needs money. What for?

Gambling debts (a bingo addict? Horse races? Jai A’lai games? Illegal online gambling?)
Medical care (expensive medications for a hidden disease? Medical treatment for a loved one? Nursing home care for an aged relative?)
To pay back a loan or to pay blackmail money
Greed (he’s not getting paid enough)
To hide financial losses

Or the thief is stealing out of a sense of entitlement. The culprit feels these items should be rightfully his because the former owner (a distant relative?) swindled his father out of his inheritance. Or was his father cheated by a business partner, the former owner of the estate?

Note that you can assign one of these motives to each suspect without deciding which one is the killer. It’ll make them all seem guilty.

Next question would be: Who has access to the house? This could be any of the above named suspects, plus the cleaning staff, repairmen, or other minor players.

So the thief steals these items. How does he sell them? Does he go through a person acting as fence? If so, how did he gain this criminal connection? Has he been incarcerated, which is where he got the idea for thievery and learned these skills? Or maybe the culprit is a woman lonely for attention who’s been seduced by a bad boy?

What about security? Are the valuable items in locked display cases? Is there video monitoring, motion detectors, glass-break alarms? Or are the objects in plain sight in various rooms guarded by security personnel until closing time?

Now we come to the next big question. Who is killed and why? Did the victim witness the thief in action? Maybe he saw the crook hand off the item to his fence in exchange for a wad of cash. Or he stumbled into the culprit and the stolen object tumbled from the thief’s jacket onto the ground. Either way, this appears to be a crime of opportunity.

The sleuth finds the body. What is the means of murder? Where does she find the victim? Let’s say the sleuth also discovers one of the stolen items on the estate grounds. How does it get there? Did the thief mean to get rid of the evidence, or did the item fall from his pocket accidentally?

Now let’s turn everything around. Thefts have been taking place at this estate, and the suspects all seem to be hiding these secret motives we’ve discussed. But what if the victim’s death was premeditated? The autopsy reveals that this act was set in motion even before the day’s events began. He died from poison, not the knife wound. Plot twist! Now your sleuth has to reexamine all the motives, the access to the victim, and the specialized knowledge needed to commit the murder.

If you’re a mystery writer who likes to plan things out in advance, you need to answer all these questions before you begin writing the novel. You might be a pantser who starts with a story crisis and keeps writing, being surprised along the way. But as you can see, a plotter can be surprised as well when these plot twists pop up. I call this process story magic coming into play. The point is to keep asking questions. These same questions will plague your readers, and that creates suspense. When one issue is settled, you’ll need to raise more questions to keep the tension going throughout the book.

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Joyce Sweeney's Plot Clock

This past weekend, writing coach Joyce Sweeney gave a workshop on The Plot Clock at the August meeting of Mystery Writers of America Florida Chapter. You can sign up for a webinar on this topic at her website: http://www.sweeneywritingcoach.com/. Here’s what I learned. Any errors are due to my misinterpretation.

Start with this question before you begin plotting: What will happen to your protagonist so he has to change and transform? In a mystery, how will the murder challenge your main character?
Act One of this four-act structure includes the Inciting Event. The person who doesn’t want to change meets an event that will cause him to transform. At this stage, he is reluctant to get involved. He fights against the inevitable until something compelling happens that he can’t avoid. This is called the Binding Point.
Act Two finds the hero entering the special world of the story. In a mystery, this is when the sleuth commits to solving the crime. But the protagonist hasn’t changed yet and makes mistakes. Things go badly for him. As a writer, ask yourself what’s the worst thing that can happen to this character? He keeps losing ground and struggles to carry on until he reaches a Low Point. This happens in the middle of the book.
In Act Three, the hero determines to improve and fight on. By doing the right thing, he gains ground. He may have followed the wrong path and has changed direction. Now he is on the proper trail. But we still need to escalate tension. As the protagonist gets closer to identifying the murderer, the bad guy reacts. More deaths may occur. Attempts on the hero’s life might threaten him. The sleuth is doing better at solving the crime, but the killer is now on to him. For every action the hero makes, the villain makes a countermove.
The Turning Point comes out of left field and moves us into Act Four. Nobody could have anticipated this plot twist. It derails the main character so that he questions his purpose and wants to quit, or “turn away.” Here you must raise the stakes so he can’t quit. He rallies and “turns back” to solve the mystery.
The Climax comes close to the end. You should be layering in the explanations about the suspects’ motives so the Denouement is short and doesn’t drag on.
For more details, visit Joyce’s site at http://www.sweeneywritingcoach.com/
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Bait and Switch Tactics for Writers

Bait and Switch Tactics are a means to keep your reader on the edge of her seat when using multiple viewpoints. What you’ll want to do is isolate your characters, then write scenes in each person’s viewpoint with a cliffhanger at the end of every sequence. Make sure in each scene that you are in one character’s head so the reader can identify and care about this person. Then they’ll be to turn the pages to see what happens next.

Take the main characters in SILVER SERENADE as an example. In this science fiction romance, Silver is an assassin whose assignment is to kill Tyrone Bluth, leader of Tyrone’s Marauders. Jace Vernon, a hunted criminal, needs the terrorist alive to prove his innocence.

In one scene, Silver and Jace confront the terrorist leader in his lair. The purpose of this scene is to deliver important information to propel the action forward. To raise the suspense, I have isolated our protagonists. Here is how the scene breaks down into several sequences [spoiler alert]:

Jace’s viewpoint. Jace and Silver, in disguise, present themselves as new recruits for Bluth’s terrorist network. They look for their contact, Gruber, at a saloon on the planet Al’ron. While sitting at the bar, Silver shrugs off a roughneck patron who makes a play for her. The fellow insults Jace, who kills him. After this display, their contact approaches and introduces them to the bandit leader. Impressed by Jace’s quick response, Bluth says they passed the first test. He’ll take Silver with him to his headquarters, but Jace must follow them alone in his ship. Jace fears for Silver’s safety. Or worse, will she use this opportunity to assassinate Bluth and leave him behind?

Silver’s viewpoint. She is on a firing range at headquarters for Tyrone’s Marauders, being tested for her skills as a sharpshooter. She passes the test. Her supervisor marches her to the detention center where the evil Bluth snatches a captive child from his mother’s arms and demands Silver shoot him. Tempted to aim her laser rifle at Bluth instead, Silver manages to demonstrate her skill in a less lethal manner. During their dialogue, she learns a piece of important information. Bluth leads her away, while she wonders what’s happened to Jace who has failed to show up. Has he been caught?

Jace’s viewpoint. Jace’s cover has been blown, and Bluth arrives to torture him in his prison cell. Bluth questions him about his contact, Gruber. Was Gruber duped by Jace, or was he a willing accomplice? Jace turns the interrogation around when he learns important news about his missing sister’s whereabouts. But what chills him is Bluth’s boast that Silver waits for him in his chamber, unaware the pirate knows full well who she really is and why she’s there.

Silver’s viewpoint: Silver eludes her warden and seeks to rescue Jace. In the hallway, she hears approaching footsteps. She whips inside the nearest unlocked suite. It belongs to Bluth’s chief financial officer. After rendering the man unconscious, Silver copies data from his computer. This information may help prove Jace’s innocence and could also be used to cut off Bluth’s funding at its source. But this data will only be useful if she can escape the complex. How can she reach the detention center and free Jace?

Jace’s viewpoint: Guards arrive to march Jace from his cell, and he figures he’s marked for death.

And so on. You get the idea? When I began this scene, I had no idea how it would play out. The sequences developed as I wrote, but each time I was in one character’s head, I left them at a critical juncture. Hopefully that will induce you, the reader, to keep turning pages to see what happens to them next.

In summary, to increase suspense, isolate your main characters and leave each one in jeopardy or fearing for the other’s safety at the end of each sequence. Switch back and forth until they meet again. This technique has been used successfully in many thrillers, and you can deploy it for your story as well. Hook your readers and reel them in!

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FWA Conference Recap – Staging Fight Scenes

Fight Scenes

Author L.E. Perez gave a good talk on fight scenes at the Florida Writers Association 2017 Conference . Here are the tips I garnered. Any errors are due to my misinterpretation.

Focus on character emotions.
Defending yourself is not the same as being prepared to injure someone.
PTSD happens to anyone who experiences a violent event or is a crime victim. This also applies to domestic abuse since the characters are at war.
Consider words that reflect a fight: sudden clarity, adrenaline rush, freeze up, smashed, buffeted, rage, pain.
If your character punches someone, he may need to shake his hand out afterward. It hurts to throw a punch.
Allow for recovery time. Either use the recovery in the story, or skip ahead and have the character recount what happened during this interval.
In a knife fight, someone invariably gets cut. Or your hero might survive a knife fight and then cut himself chopping vegetables for a bit of humor.
Act out your action scenes to get a sense of motion. How is your character moving during the scene? How is he holding a weapon?
Kamas is a weapon with a scythe-like blade on one end and a pointed blade on the other end.
Not all knives are throwing knives. They have to be properly balanced.

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Story Dreams

Have you ever had a dream that sparks a story? I used to have them more often. A dream is what inspired Circle of Light, my very first published novel. I woke up and didn’t want that science fiction adventure to end. So I wrote the rest of the story and sold the book. It went on to win the HOLT Medallion Award.

Snippets from other scifi dreams have gone into my futuristic romance novels. To date, I’ve written eight books in this genre. But I seem to have lost the ability to have these dreams along the way. And never do I recall having a mystery idea dream like I did last night. Is it because I’m at a juncture in my career and seeking guidance on which way to go?

In dreamland last night, I had an experience that seemed so real, I felt a keen sense of disappointment when I awoke and realized it was merely a dream. I didn’t want to lose the wisps of this place from my mind, so I grabbed a cup of coffee and ran to write it down.

In this ethereal place, my husband and I were strolling along a shopping strip, and I noticed a store we hadn’t been in before. It was a day spa, and since the heroine sleuth in my Bad Hair Day mystery series owns a hair salon and day spa, I thought I’d drop in to see what this one offered.

It wasn’t like any day spa you’ve ever seen. This was more of a Zen-like retreat.

An attractive fortyish woman greeted us when we entered. We posed as prospective members and asked to be shown around. The place had an ultra-modern feel with open spaces and contemporary furnishings. Recessed lighting in high ceilings provided illumination along with wide windows. The polished wood flooring added to a soft ambiance.

Our guide explained that members used private trainers for physical fitness. They would help you devise a series of exercises custom-tailored to your body’s needs. There wasn’t any ugly machinery here.

Massage rooms were available, but that was the only concession to the traditional spa.

A serenity section, bordered off, was filled with water. Jagged white opaque glass pieces floated artistically over this pond to imbue a sense of peace, like at a Japanese rock garden.

We saw a wave runner section, where you stood on a room-sized inflatable mattress. It pitched and rolled like on a ship. Our guide explained that this got members accustomed to ship motion so they wouldn’t get seasick on a cruise. As we watched, a fellow dressed in a pirate outfit rode the motion on the blue mat, clearly living out his fantasy.

Another section was for folks working with their personal trainers, practicing yoga or whatever else they were instructed to do. Young men and women worked hard to condition their muscles and control their breathing. We didn’t see any older clients around. Where did they do their cardio? Outside, perhaps?

As we moved along, our guide pointed out a chair where you sit strapped in and your body temperature is lowered to acclimatize you to colder temperatures. This was popular with Floridians who were traveling north. Left alone in the chair, you could freeze to death. I feel my eyes light up and my face brighten. I nudge my husband. “You hear that? A person could freeze to death.” He knew exactly what I meant. Here was how the victim in my next mystery novel would die.

A shop by the front offered a dazzling array of items but nothing that appealed to me. The selections included wine glasses and accessories, New Age crystals and incense, jewelry and tchotchkes from around the globe.

Voices coming from the rear led us through a narrow corridor to a large hall filled with members eating like in a cafeteria. I overheard one fellow say to a friend, “You’d better sit on your towel in the corner like ordered, or you’ll forfeit your passes.” What did this mean? Was it a form of discipline? They had to get passes to leave the premises? Did these people live there?

An undercurrent of something not quite right pierced me before the owner found us and led us back to the front section.

This is great, I am thinking. Somebody can freeze to death in that electric chair. Sounds like a great way to commit murder.

Once a writer, always a writer.

How can I ever think of quitting? Stories are everywhere, waiting for me to pluck them out of the air. They beg to be written and read by the multitude.

This story wouldn’t suit a Bad Hair Day mystery. Marla has already been to an athletic club in Murder by Manicure, and a murder occurs at her day spa in Facials Can Be Fatal. But this would be a neat place to set my other mystery heroine waiting in the wings for her chance at fame. She could go stay at a retreat like this one if I set it in a more isolated location.

And then I remember one of my earlier unpublished stories takes place in the exact same type of setting. Could I adapt that mystery to a new series? Possibly.

You know what this means, don’t you? I answered it for myself in the dream. Retirement isn’t an option. As long as I breathe, there are more stories to tell.

Do you ever get story ideas in your dreams?

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Raising Suspense in your Novel

How to increase suspense in your novel was the topic of a Saturday panel at Sleuthfest. Speakers included Laurence P. O’Bryan, Chris Pavone, Charles Salzberg and Alison McMahan as moderator.

What you want to do as a writer is to raise questions in the reader’s mind. You say things, but you don’t explain all of them. Follow the principle of R.U.E.—Resist the Urge to Explain.

Start out the story with a bang. Don’t give all the backstory right up front. Respect the reader to figure things out on his own. Create situations to make the reader care about your character’s backstory. This history can come in during “down” times in the pacing but only in small doses.

Contain mini-mysteries within the overall plot. Give solutions along the way to keep the reader interested, and then raise new questions.

Guide the reader down blank alleys but not too many of them.

Sentences should have velocity.

Leave out the paragraphs readers will skip over. Don’t dump info like descriptions of places or people unless it serves a purpose.

Spread out character background. Reveal things sparingly in terms of character and place.

Mood and temperament of the sleuth can add to the suspense. How is he going to behave? Will he act morally? Relationships add tension. Action shows a character’s true motivation.

Adding a ticking time bomb or a deadline or using bait and switch tactics are other methods to raise suspense. So can a sense of menace, but be subtle. For example, you mention that a character is meeting someone on Monday. Who is he meeting with? What’s going to happen?

“Our job is to keep people reading. Each chapter should have an arc that doesn’t resolve.”

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Disclaimer: These notes are my interpretation and are subject to errors which are mine alone.

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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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Facing the Void

I’m in that void in between books. Having finished my Author’s Edition of Body Wave (Bad Hair Day Mystery #4) and scheduled it for launch on June 16, I can start thinking about my next project. And so far that’s all I’ve done—think about it. This would be Bad Hair Day #14. It’s a direct sequel to Facials Can Be Fatal that follows Peril by Ponytail, my September release. I’ve set this summer for plotting with writing beginning in the Fall.

All I have at this point is the victim. I also have a possible motive, but whether this ends up a red herring or the actual reason for the crime is yet to be determined. My suspect pool is limited to work colleagues. Who else can I bring in? Did the victim have any interests or extracurricular activities that might have gotten him in trouble?

I won’t know the answers until I do my character development charts. But first, I have to figure out the timelines, because this guy’s background indirectly intersects with my sleuth’s life. So where was she when they first met? What does she know about him?

Another person is involved who has a closer relationship to our intrepid hairstylist. How is this person related to the crime? Is it random, or does this character have secrets of her own that could provide a motive?

And what about the so-called crime? Is it plausible? What could be the course of events that led to the victim’s death? Who else might be involved? This necessitates research. I have to ask an expert in the field.

As you see, all I have are a series of questions. But these are things I must ask myself to start the plot formulating in my head.

And then there’s the Wow factor for me. What can I learn that’s new and interesting? This is what really grabs my interest and gets me excited about a story. The idea can come from a newspaper or magazine article, news broadcast, personal experience, or tidbit of information that crosses my path. Maybe as I’m delving into the characters, it’ll come to me. Meanwhile, my story antennae are alert.

If all else fails, I can explore my Dirt File, where I keep clippings of interesting articles about people’s crimes. Or I could explore my General Research files where I stick items that might inspire me. I’m hoping these actions won’t be necessary. Maybe I’ll get an unexpected visit from the muse who will bring me the right idea. Then the pieces will start to fall into place, and a story will form. I call this the Discovery phase because you are discovering what the story is about.

Plotting a new book is a daunting task, but one every writer faces when he finishes one book and contemplates the next. I can’t wing it like some authors. I need the story plotted out in advance. I’ll write a synopsis before beginning page one. This entire Discovery process can take me from one to three months. Then the hard work of writing begins.

How about you? When does your story brain put the pieces together?

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Starting a New Novel

Starting a new novel can either be an exhilarating prospect or a daunting one. No matter how many books you’ve written, this reaction still holds true. If you’re a pantser regarding plot, you might begin with a concept, a character, or a setting. You wing it from there with a general idea of where you want to go. But if you are a plotter like me, you need a roadmap. So how to begin?

Characters Come First

Get to know your main characters. Who are they? What do they want in life? Why do they want it? What stands in their path? Give them internal and external goals. Have them deal with an inner emotional struggle that inhibits them from moving forward. What caused this conflict? How does it relate to the main plot? Let’s say your heroine meets a firefighter that she really likes. But she has an insane fear of fires because her parents died in one when she was little. How can she have a relationship with a guy who’s life is always at risk? Meanwhile, the external plot involves an arsonist. For some reason, he’s targeted her. She has to rely on the hunky firefighter to keep her safe. And so on. But don’t leave the hero out, either. He should have his own reasons for not pursuing a commitment. As for the villain, give him a plausible motivation so the reader can understand his actions if not approve of them.

Determine the path of character growth so you know how things will end. How will your characters change by the end of the story? In this example, the heroine might have to overcome her fear of fires to rescue someone in a blaze—perhaps herself, or the hero who’s been disabled by the villain. She realizes her own inner strength will get her through any adversity. She’s a survivor. And so she can let down her barriers and give her heart to the man she has come to love.

It’s no different when you’re writing a series. In each book, your protagonist must change in some way or realize a truth about herself. Yet her emotional growth can involve a bigger arc that encompasses a number of books. Always solve the external conflict first in a story, and then wrap up the resolution with the insights your character has learned.

Build Your Setting

You’ve done your character development. Now where does your story take place? What is unique about this setting? How can you bring it to life for readers? This is where your world building takes place. Where does your character live? Why did she choose this place? What are its architectural and design elements? How is the setting a character in itself? Describe the sensory impressions you might note if you visited this area. How can you get its flavor across to readers? Why is this setting important to your plot?

Do Your Research

Make sure you get your facts straight about the locale and any issues involved in your story. This can be preliminary research until you begin your story. Then you’ll know what details to pursue. Is there an interesting news article that caught your fancy? Look up more information on the subject and figure out how it relates to your plot. Or perhaps your story is based on something you read or saw on television. You’ll know what avenues to explore. Just be sure you’re as authentic as possible. That goes for your protagonist’s career as well. Use metaphors and similes from her viewpoint. Get familiar with her work lingo and research her occupation.

Plot Your Story

If you like to use the storyboard method, grab a big poster and divide it into squares that represent your chapters. Brainstorm plot points and put them on sticky notes. Plaster these sticky notes around the poster approximate to their timing in the story. Or you can do a chapter by chapter outline instead. Either way, keep track of emotional as well as external plot points. Don’t worry if gaps show in your planning; they’ll fill in later if you lay the groundwork properly.

Keep in mind that each scene must have a purpose and hold tension. Each action is followed by a reaction and a decision. Start with a crisis or “call to action” for your character. Build the complications, layer in the secrets and suspense, determine the plot twists, and aim for an exciting resolution.

Many writers utilize the three act structure in their story plotting:
I. Inciting Incident and Introduction of Characters, Conflicts build to First Turning Point
II. Secrets, Subplots, and Complications, Rising Stakes, Second Turning Point
III: Black Moment for Sleuth, Villain Exposed, Resolution, Character Growth

Hook the Reader

How can you grab the reader at the start? Begin with action or dialogue and move the story swiftly forward. This is not the place for flashbacks or background information. Make sure your protagonist is likable to gain reader sympathy. Make the stakes personal. Consider that you only have the first few pages to make an impression. And just as importantly, end each chapter with a hook. You want to create a page-turner, so keep that tension ramped up.

Tomorrow, visit my piece on Internal Conflict at The Kill Zone.

Tag: story development