Tuesday, September 11, 2018

In the Beginning

I think we can agree that getting the right beginning to a story sometimes rates up there with going to the dentist. It’s something we know we need to do, but we dread getting it done. 

We worry that if we can’t find a great beginning for our story, it's doomed. So we flail around trying to
come up with the right beginning and presto! bingo! Suddenly we realize we not only don’t have a great beginning, we don’t have a great middle, or a great ending.

Let’s stop and take a deep breath.

While a great beginning is important, the fun part of writing is that creating the perfect beginning to your story doesn’t have to come first. You just need to find it before you write The End. Sometimes it appears in your head like a gift from the gods and sometimes you have to dig and dig and dig to find it.

This is why it’s important not to get hung up on finding the “perfect beginning” before you write anything else.

When I was writing Lady Runway (http://www.gingerhanson.com/bookshelf/ladyrunaway/), I started the story in half a dozen different places. In one early rendition, the heroine was in a mail coach, then I decided to take her off the coach and move her into the coaching inn. Next, I came at it from the hero’s point of view and wrote a series wartime diary excerpts. I also tried putting the hero at the coaching inn before the heroine arrived. 

None of these openings felt quite right. 

Lady Runaway is a historical romance and traditional publishers of romance want the hero and heroine to meet in the opening pages. I was trying to nail that requirement, but the story didn’t lend itself to a first chapter meeting. When I tried to hook them up too early, I ended up with way too many flashbacks later in the book.

If I didn’t want a story riddled with flashbacks, Riana and Dev would have to meet later than the opening scene. In fact, they don’t meet until Chapter Four.

Instead of meeting Dev in Chapter One, the story begins with Riana opening the door to her nemesis. The reader is with Riana as she deals with the villain and makes her escape. 

The version with all the flashbacks did not get a contract, but the version I decided worked best did. Nor do I remember one reader or reviewer who complained that the hero didn’t show up early enough. I believe I found the right opening for that particular story. My many opening scenes weren’t wasted, either, because they became useful back stories.  


With luck, you’ll always find the perfect beginning for your stories. If not at the beginning, keep writing, it’ll probably it sneak up on you.

Tuesday, July 3, 2018

3 Pet Writing Peeves

It’s impossible for us to attain perfection with every sentence we write, but we do need to check our work for as many errors as we can before putting it out in the world. I keep encountering certain things in books I read that drive me nuts. Here’s my favorite three.

The Case of the Missing Pants

As we set the reader in our story world, we need to describe characters. If you chose to describe a character’s outfit, please don’t stop mid-way through the description.

A server in a crisp white shirt, red vest, and red bow tie approached. 


As I read, I form a mental picture of a character. From this abbreviated description, I can’t help but wonder if the bottom half of his body is naked. And if so, why didn’t the other characters notice?

How about

A server dressed in a crisp white shirt, red vest with red bow tie, and gray pants approached.

While this isn’t the complete picture, his socks and shoes are missing, and maybe a watch–you get the picture. I haven’t described every detail, but there should be enough to keep a reader from wondering whether the server is wearing pants or not.

The Eyes Have It

For some reason, writers tend to send the eyes of story characters in many directions. Keep in mind a human’s eyes are pretty much stuck in one’s head. The only way eyes can perform some of the following antics is for them to physically leave the body. And yes, these are taken from books I have read.




Her eyes circled the room. 
He sent his eyes around the room. 
Her eyes flew to his face. 
His eyes drifted up from the floor.

Yikes. These are talented eyes if they can do all that. My advice is to use the word “gaze.” Rather like the ubiquitous “said” in dialogue, gaze doesn’t encourage a reader to picture eyes leaving sockets.

His gaze slid from her to the door behind her.

Works a lot better than

His eyes slid from her to the door behind her.

Think about what you write. Can you physically do what you’ve written? Or at least imagined yourself doing it? For example, I don’t have any problem picturing a character “rolling” his or her eyes because my daughter has mastered the technique. Her eyes never leave their sockets, but she clearly rolls them upward. Thus, I am comfortable using that description for a character.

Again, if your eyes can’t do something, a character’s eyes probably can’t do it either.

The Misplaced Possessive Apostrophe

I’m not sure why, but fewer and fewer people seem to understand how to use the possessive apostrophe. The average English speaker tends to use his or her, mine or yours, correctly, but the minute the possessive apostrophe jumps in, especially in an advertisement, things get wacky.

Take the following sentences for example:

Her parents’ house is large. 
Her parent’s house is large.

First of all, the house belongs to either her parents (at least two of them) or her parent (one person). Thus, if you’ve written that the heroine is pulling into the driveway leading to the house where both her parents live. You would write:

Her parents’ house is large.

Parents would be plural (indicating two people) and the apostrophe comes after the “s” to show possession. The parents own the house.

If the heroine’s parents are divorced or one is deceased, she would be pulling into the driveway leading to the house where one parent lives. You would write:

Her parent’s house is large.

This is singular possession. One parent owns the house. The apostrophe comes before the “s” and after the singular word parent.

Plunking the apostrophe before the “s” in plural words seems popular these days. You see it most often in advertisements, but it’s seeping into fiction.

DVD’s for sale. 
PC’s for sale.

Hmmm, written like this, the owner has only one DVD and one PC for sale. Oh, you had more than one? You have several boxes of DVDs and three PCs? Well, for goodness sakes, advertise them correctly.

DVDs for sale.
 PCs for sale.

I’m beginning to wonder if apostrophobia–the fear of misusing an apostrophe which then causes someone to misuse it–has gripped the world. If you have doubts about using a possessive apostrophe, check a grammar book (yes, you should own one) or check an online resource.

Perfection isn’t possible, but a good writer strives to keep clutter to a minimum. Remember, readers have imaginations, too. Once you get them comfortably ensconced in your story world, don’t let easily corrected distractions such as incomplete character descriptions, trick eyes, or grammar errors force the reader out of the story.

Monday, May 28, 2018

Writing Success: It’s How You Measure It

Did you know that 2,952 athletes competed in the 2018 Olympics? They were vying for a record 102 medals. Simple math tells us at least 2,850 athletes returned home without a medal. Since some athletes competed in different events and won more than one medal, the number of medal less athletes inches higher. Math is not my forte, but by my calculations only .05% of competitors won a medal. 

And yet, I’m sure there isn’t an athlete among those who returned home empty handed who regrets having the opportunity to compete. 

My favorite competition is the figure skating. I love watching the skaters’ dazzling performances, but even as I watch, hoping each will have a flawless performance, I know only one skater in a category will win the gold. 

Think about it how many hours these skaters have worked to perfect their routine. The gold medal beckons and they compete, compete, compete for the opportunity to go to the Olympics. But after all that work, many of them do not take home any metal.

Undaunted, they start planning for the next Olympic games. 

The Olympic competitions remind me of writing. Hour upon hour of learning the craft, writing the work, submitting it or publishing it, being knocked down, picking oneself up, and yet determined to try again.

Bestseller status is our gold medal.

According to the U.S. Bureau of Statistics, 131,200 people are employed as writers in the U.S.A. This number includes all types of writing from cereal box ads to poetry with plenty of stops in between.

Pay ranges from the minuscule to the millions (of dollars). If you believe bestsellerdom means you’ve won the gold medal in writing, just remember 131,199 other people are trying for it, too. Based on the Olympic odds, not all those competing are going to win. Bestseller status doesn’t come any easier to a writer than the gold medal does to an athlete. 

How do you measure your writing success? Truth is, we often forget that success has meaning other than attaining profit. Success can also mean accomplishment in an something you do well. 

I am not a bestselling writer. Truth is, my family would have starved if we had relied on my writing income. I may not have attained name recognition or profit, but I believe I am a successful writer. While I would have loved to become wealthy from writing, it has never been about the money for me, it’s just something I love to do and get cranky if I don’t.

Mostly, I have had the satisfaction of having touched others’ live. I love that:

My home town set aside a day to celebrate a local resident whose accomplishments I wrote about in our newspaper. 

Two Alabama men were presented a prestigious award for mechanics by the Federal Aviation Administration due to an article I wrote. 

And then there’s the Aussie was so delighted to find my humorous essay on the Internet about ants in the water reservoir of my iron. She said now her “mates” would believe it happened because she had proof it happened to someone else.


Success in the writing world, it’s all in how you measure it.

Saturday, February 24, 2018

Point of View: Clarity is the Key Part 2

The POV sin to be avoided is head hopping. When a writer head hops, the point of view shifts from one character to another. The reader is literally hopping from one character’s view point to another character’s view point. By filtering a scene through more than one POV, it becomes less focused.

Let’s look at what I mean about head hopping with this bit of dialogue among three characters who work in the same office:

“Did you know Sherry had a breakdown last night?” Maxine poured herself a cup of coffee before shaking a packet of fake sugar into it. She liked knowing the office news before anyone else.
“No way.” Janine was surprised at the news about Sherry. How could she have missed something as huge as a nervous breakdown? She and Sherry had been working on the same project for weeks.
“Hospitalized.” Cora walked into the room in time to hear Maxine’s announcement and pleased she had the latest news about their co-worker.
“Mercy or General?” Maxine sipped her coffee, unwilling to let Cora see her irritation. Cora was always ahead in the latest office gossip.
“Mercy’s the best,” Janine opened the refrigerator, looking for the yogurt cup she’d scrawled her name on earlier that morning.

In the above example, I head hopped among three speakers.  The reader would have no problem figuring out who was speaking. Or what they were feeling. Or thinking. Some writers may believe that is a plus.

But…

Isn’t there always a but? 

Head hopping diffuses the tension in the scene as the reader jumps from the feelings and thoughts of one character to another. The scene lacks focus.

A story told from more than one POV doesn’t mean mixing up all the POVs in a scene.  For maximum impact on the reader, a scene needs to be told from one POV. The best way to choose a focal point POV is to think in terms of the purpose of the scene. When I revised the above example, I decided Maxine was the focal point character. The scene needed to be told via her POV. 

Let’s take another look at the scene:

     Maxine watched Janine come into the break room. “Did you know Sherry had a breakdown last night?” The appalled expression on Janine’s face was all the reaction Maxine needed. She turned to the coffee pot and poured herself a cup of coffee to hide a smug smile.    
“No way.” Janine’s surprise echoed in the small room.
Maxine shook a packet of sweetener into her cup. She liked knowing the office news before anyone else.
“Hospitalized. For at least thirty days,” Cora said.
     When Maxine’s nemesis walked into the break room, she schooled her face into a pleasant expression. She refused to let Cora see her irritation as she turned and asked, “Mercy or General?”
     “Mercy’s the best.” Janine opened the refrigerator as she spoke, no doubt looking for the yogurt cup she’d scrawled her name on earlier that morning. 
   The same one that David, their supervisor, stole each morning. Maxine wondered when the guy was going to get enough courage to ask Janine on a date.

The narrative is basically the same, but I focused the reader on Maxine”s thoughts, reactions, and feelings to give the reader a more layered view of her character rather than a shotgun view of multiple characters.


Clarity of POV is an important component of building rapport between the reader and your characters so chose your POV for a scene wisely. Keep that rapport strong by staying true to the chosen POV, filtering every emotion, reaction, and thought through the POV’s world view.

Monday, January 22, 2018

Point of View: Clarity is the Key Part 1

I recently received an email asking my advice on how to change point of view (POV) in a story. There is a lot of advice floating around about POV with plenty of “rules never to be broken” countered by just as many “well, Famous Author did it this way.”

Truth is, I read a lot and I’ve seen a variety of techniques used to change the POV. I’ve also seen many definitions so just to be sure we’re all on the same page, let me define what I mean by point of view.

  1. First person is the “I” viewpoint. The story is told completely from one character’s POV which means the reader can only experience what the character experiences. 

  1. Omniscient is an all-knowing POV and the story is told through a “godlike” narrator who knows the thoughts and feelings of every character. With this POV, the reader experiences the story through the actions and feelings of the various characters.   

  1. Third person is a compromise between first person and omniscient POV that offers the best of both worlds. The reader gets the intimacy of first person with the perspective of omniscient since the story can be told by multiple characters.

There are pros and cons for using each type of POV, but knowing the type of story you want to tell helps a writer decide which POV is best for that story. First person can be limiting, but also works for many stories. An intimate memoir type story often calls for the first person. Some series are written in first person, but remember if you chose that POV, the main character must be someone interesting enough to keep your readers returning book after book.

With first person, there are no real worries about shifting POV since it’s always “I”,  but care still has to be taken that no other POV slips into the story by accident. Every emotion, reaction, and thought must be filtered through the main character’s world view.

When using either omniscient or third person, the writer must provide a clear transition when changing POV from one character to another. Often the POV change is separated by a line break which indicates to the reader that a scene or POV shift is about to happen. Another popular method is to shift with a new chapter. These techniques cue the reader to anticipate some change so they aren’t caught off guard.

However you chose to shift POV in a story, be sure and anchor the reader immediately to keep the reader aware of which character’s POV has become the filter for the story.

I’ve seen a more subtle signal of POV change in romance novels. These stories usually involve only the heroine and hero and writers sometimes shift the POV from the heroine to hero (or vice versa) within a scene to increase the feeling of intimacy. This gives another layer of emotion and perspective to the scene, but this type of POV shift must be done carefully. 

A transition sentence puts the reader firmly into the other character’s POV. This is usually done by using the character’s name to slide the reader over during an intimate exchange that involves only these two characters. Thus, the scene has been divided into two parts with the heroine’s POV first, then the hero’s (or vice versa). There is no jumping back and forth between their POVs with every sentence or “head hopping” which I’ll discuss in Part 2.

Whenever using any POV, the writer must remain faithful to the chosen POV, filtering descriptions, interior monologue, observations, and emotions through the same viewpoint character. 


Head hopping is the POV sin to be avoided. I’ll discuss that in part 2

Monday, October 16, 2017

Historical Novelists: Check Your Facts!

I couldn’t believe the proofreader of my second published historical romance Ransom’s Bride felt it was necessary to verify every little detail in my manuscript. I was a history instructor at the local junior college. It wasn’t possible for me to write a historical romance without filling it with accurate historical details. If I wrote that a certain train went from Nashville to Atlanta on a certain day at a certain time, then that train existed and I had checked its time table.

Even though I was miffed at her thoroughness, I was also delighted because she found no inaccuracies. After reading some recently released historical fiction novels, both traditionally and indie published, I’m beginning to think some of today’s editors and writers need the services of my thorough proofreader.

Which is hard to believe since today’s writers have unparalleled access to mountains of information. The advent of the Internet has made it possible for any writer who wishes to research an obscure fact to find it quickly. No more weeks of waiting while that reel of microfiche, which your friendly local librarian requested from a faraway university or state archives, wends it way to you via the postal service.

Nor is there a need to amass a library of costume books in order to dress your characters in period clothing. An Internet connection and a few clicks of the mouse can put you into just about any museum or era specific website filled with beautiful examples of what people wore through the ages. A writer can easily locate the information needed to outfit a character appropriately for any occasion.

What surprises me the most is a total lack of understanding when it comes to the value of money in earlier time periods. We hear about inflation everyday. How our money buys less and less. Doesn’t that mean smaller amounts of money bought more in the past? Did you know $50.00 (USD) fed a family of four well for a week in the 1970s? Today, you’re lucky to get out of the grocery store with one half-filled plastic bag of groceries for $50.00.

If a historical writer is going to use money in a story, he or she has to have a grasp of the value of money for that era.

I started reading (note the key word here, started) a Regency era novel whose young heroine was being blackmailed for £10,000.00. First of all, I doubt few single young females today would have access to that amount of money, much less an unmarried, young female of that period. Second, a quick check of the value of £10,000.00 in 1800s England revealed it would be the equivalent of £700,000.00 or $1,073,663.34 today!

What heroine today would be able to drum up a million dollars to pay a blackmailer? On the other hand, what blackmailer would bother to demand that much money from a young female?

Another writer took two characters on a train ride in a story set in 1870. The hero paid $150.00 for their one way ticket. Doesn’t seem like much does it? But run that $150.00 through a historical money equivalency calculator and those two tickets to ride a train from mid-California to San Francisco cost them $2,500.00. And this supposedly down-and-out hero just happened to have that much money in his pocket?

In another novel, a young, poverty-stricken character waltzed off to India in the early Regency period with a £150.00 stake. This guy was so poor, his sister died because he couldn’t afford a doctor. Guess what. In today’s economy, £150.00 is the equivalent of £10,000.00. Had he possessed that much money there would have been no need to go to India to earn his fortune. It may not seem like much today, but that £150.00 would have put the hero and his family into a comfortable income bracket in 1800s England. It certainly would have been enough to pay the doctor.

If a historical writer can’t get something as basic as how much money is worth in the story’s time period, what other fallacies would my check-every-fact proofreader find?

Saturday, July 1, 2017

Dialogue, Action, and Tags: Stay on Track

I’m not sure what’s going on in the publishing world, but I’ve noticed an annoying trend in the dialogue–action–tag sequences. It’s something one would expect to find in novels written by novice writers whose work hasn’t been edited. Imagine my surprise to find it in the published books of several longtime popular writers.  


Some writers (or maybe their editors) are separating a character’s dialogue and action by creating separate lines on the page. One line for dialogue and then a new line for action while the speaker remains the same.

Why is this a problem? Because a new indented line signals the reader something new is happening, not an extension of what’s been happening. 

Our eyes see the indent, register a new line, and our brain signals back, “be on the lookout, something different is about to happen.” Generally, an indented line in a dialogue sequence signals that a different character is going to speak. When a writer varies from this pattern, the reader experiences momentary confusion and can’t help but wonder– “Did I miss something here?”

All of which causes a break in concentration as the reader is pulled out of the story.

Who Is Talking?

I doctored this snippet from my novella, Susannah’s Promise. See if you can tell which of the two characters is talking. 

Naomi inched forward in her chair. 
“There’s a lot of factors at work, the main one the average age of our customers,”  she said.
“Older than dirt?”
She couldn’t stop the upward twitch of her mouth.
Naomi grinned. 
“Don’t forget, honey chile, I fall into that age bracket.”
Naomi inches forward in her chair. The line indents to signal a different character is speaking, right? Maybe not, if the writer has decided to separate the action and dialogue.

The reader will expect a new speaker. When this doesn’t happen, the  story thread is broken. There’s a brief bit of confusion as reader stops to tray and figure out who is speaking in order to re-establish the continuity of the story.

Overuse of Character’s Name

To help keep the reader in the loop when separating dialogue and action, I’ve noticed some writers will tag the dialogue to keep the reader on track. For example:

Naomi inched forward in her chair. 
“There’s a lot of factors at work, the main one the average age of our customers,” Naomi said.
“Older than dirt?” Susannah said.
Susannah couldn’t stop the upward twitch of her mouth.
Naomi grinned. 
“Don’t forget, Susannah,honey chile, I fall into that age bracket.”


Yes, I went a little over board above, but I’ve kept the reader on track with who is speaking and ensured the story thread isn’t dropped. That said, isn’t there an awkward feel to this example? An overuse of the characters names when there are only two characters in the scene? The reader should have no trouble knowing who is speaking. It’s up to the writer to correctly signal the reader when there is a change in speaker. 

Let’s look at the way I wrote this exchange in the novella.

How About This?

Let’s see what happens if we resort to keeping the dialogue and action of each character connected with no line breaks.

Naomi inched forward in her chair. “There’s a lot of factors at work, the main one the average age of our customers.”
“Older than dirt?” Susannah couldn’t stop the upward twitch of her mouth. 
Naomi grinned. “Don’t forget, honey chile, I fall into that age bracket.”


In this version, the pattern is clear and the indentations mark a change in speaker. Confusion is minimized by keeping the action and dialogue in the same segment with no line break. There is no need to repeat character names and the reader can easily follow the story thread. 

Why would any writer want to be associated with a style of writing that causes reader confusion? 

I can think of one reason: padding a print manuscript. Print books traditionally count the number of lines per page, not the number of words. A 300 page novel full of dialogue with little narrative is considered, for print purposes, to be 75,000 words (250 words per page times 300 pages). Using that formula, a 300 page book of narrative with minimal dialogue is also considered a 75,000 word novel. 

By breaking up the dialogue and action, you get more lines per page. Over a 300 page print book that means fewer words need to be written. 

I can’t see any other reason for a writer to adopt this pattern of writing. I’ve even more 
unsure why a good editor would let it slide into print. The writer’s goal is to bring the reader into his or her story world and then guide them on the journey. If the reader has to re-read dialogue exchanges because the writer is using this confusing trick, why would a reader want to finish the journey?