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2018 Writing a Novel Series

Location, Location, Location!

In our second blog post, we discussed the benefits of starting your story plan with the time frame that it takes place in. Now that you’ve settled on the when of your story, it’s time to move on to where it takes place.

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The location of your setting is going to impact what types of characters to include, the contributing details of everything from the clothing that they wear to the food that they eat, and the dialect that they speak as well as the mundane details such as the name of the town and which street the burned-out drycleaner’s abandoned storefront sits on.

Side Note: What is a contributing detail?

If your story takes place in London, as our sample in the introduction did, you’re more likely to find characters sipping tea in a parlor or drinking room temperature beer and eating blood pudding in a pub than you would if your story is set in 1960’s New York, for example. Conversely, if your story takes place in 1980’s Texas, a large reunion on the family ranch is going to seem more relatable if the characters are chowing down on barbeque than it would if they were passing around a sushi platter. These are the types of things I refer to as contributing details. They aren’t the meat-and-potatoes of the storyline, but they do offer a layer of relatability that readers rely on for context.

Moving on…

Is your setting a real place or an imaginary one?

(For the purposes of this post, an imaginary town set in an existing city, state, or country is considered a real location.)

Many writers assume that it is less work to create an imaginary world than it is to spend the time researching real locations. There are times where it makes better sense to create a storyverse from scratch, as it were – such as The Lord of the Rings or The Harry Potter books – but for authors who are not writing in a science fiction or fantasy realm, the benefits of using a real setting can out-weigh the convenience of not having to research a location.

When you use a real place as a basis of your setting, you are able to weave historic and location details as well as social and civic information into your writing to lend an air of authenticity and realism. For example, in your story about a modern-day person escaping from a kidnapping ring in the south, you could have them following the trail of the underground railroad using a sightseeing map they found skittering along the ground as they snuck out of a window that their captors forgot to lock.

On the other hand, when you create your own storyverse from scratch, you have to create the entire backstory of the location(s) in the book as well or the story could end up leaving the reader with questions that you didn’t anticipate.

 

 

How many locations can one book have?

When you choose a location for your book, it can be as broad or as narrow as you wish as long as the story doesn’t move beyond the borders.

What does that mean, exactly?

It means that when you, the author, set up a specific location in your story, the majority of your action should take place in the location you have spent the most time preparing your reader for.

In our example, we used the dank, dimly-lit alleys of a high-crime section of London. Now, that doesn’t mean that most (or all) of our action has to take place behind Bow Street Number 4, but it does mean that the author has to choose – and be prepared to work through – a specific setting plan.

While not the only possibilities, the standard options are as follows:

  1. The most common setting profile is that the story takes place primarily in the city of London. There may be short reaches outside of the city – to the surrounding countryside or even to neighboring countries – but the story will begin and end in the city of London.

    This is usually the easiest plan to work with as it only requires the in-depth description (and the related research) of one location.

  2. The flash-back method allows the author to use the initial description of Viago skulking in the dark, crime-ridden part of London and then relocate the story to a different part of the country or even to another continent entirely.

This is a less common approach and requires not only in-depth research on the introductory location and the actual story location, but will also need a reasonable explanation for the relationship between those locations.

For example: if the prologue to the story fades out on our rough-around-the edges private dick waiting to pounce on potential evil-doers in the early morning hours in London. Then the first chapter opens with a description of Viago in a suit and tie, sitting at the second desk as a criminal prosecutor in a Scottish courtroom. Your readers will struggle to connect with the story unless you provide a viable tie-in.

  1. The third and least common method involves having multiple primary locations for your story. This is also the most difficult and time-consuming option.

To expand on our example above, imagine our story opened with Viago in the London alley, but this time, in addition to his thin t-shirt and cheap running shoes, he is also wearing a knit mask pulled down over his face and has a pair of rusty handcuffs stuffed into the pocket of his fake leather jacket as he glares at the rain-soaked news article in his hand. He grits his teeth as he reads the headline that screams “London petty thief escapes Scottish justice for the third time!”.

Suddenly our down-on-his-luck private investigator looks suspiciously like a masked vigilante and it would make more sense to turn to chapter one and find him in an abutting country (Scotland) working as a prosecutor who, frustrated with trying to punish the criminal element that crosses the border at will, spends some nights taking justice into his own hands.

You can see how this story plan will work, but it will also require twice the preparation, research, and, yes, twice the actual words making their way to paper, to be successful. (If I didn’t explain this clearly, please comment and I’ll be sure to respond.)

 

Choosing the location (or fine-tuning your created location)

To be sure that your location fits your storyline, consider the following questions:

  1. Did this location exist when your story took place? Or can you tweak the storyline to make the history fit?
  2. Could my events actually happen there?

I don’t mean the actual story; after all, that’s why we call it fiction. Consider the hard attributes of the location that you chose (weather, access to natural resources, etc.) and try to picture the storyline unfolding. If you can’t, its unlikely that your readers can.

For example: If your story is about a couple that meets on a mountain hike and forms an unlikely romance as they weather a blizzard together after their guide is eaten by a mountain lion, Hawaii might not be a good choice. Conversely, if your story takes place on a cruise ship that has been commandeered by terrorists and taken out to sea, it probably needs to begin in an area that has a sea port instead of, say, Iowa.

  1. Does the actual history or your created backstory support the attitudes and behaviors of the characters in it? If your story is placed in an area that is known for xenophobic or racist attitudes, having a colorblind society would be great, but isn’t going to be realistic.

(Side note: This, of course, is something that can be addressed through your storyline.)

  1. Do the details that are important to your story work here? Do (did) the real people in that area dress, speak, act, or <insert verb here> the way your characters do? This is a good place to consider the issues like sushi in Texas or blood pudding in New York.

Now that you have your when and your where, in our next post we’ll puzzle through who is there. Keep on writing!

All in Good Time (The when of story planning)

Welcome to week two in our 2018 Writing a Novel Blog Series!

Secret-of-Time-Management.jpg

Identifying the when that your story takes place in as the first step in your book’s outline allows other aspects of the story to fall into line more easily. Not only does it guide you toward the clothing, behaviors, and speech patterns that will allow your characters to blend into the story seamlessly, it will also save you time by directing you to specific areas of research.

Remember our sample from last week? Consider the section in bold print.

“Viago skulked in the dank, dimly lit alley behind the Bow Street Runners headquarters of London’s Bow Street Number 4, as it was known through the seedy underbelly of the city. He’d been crouched in the same spot for what seemed like hours, waiting for the flood of thieves and pickpockets that he knew would be coming. The air around him was wet. The mist that would become the morning dew already thick in the air. It clung to his wavy, shoulder-length hair and dripped down the back of his neck to saturate the thin t-shirt inside his cheap fake-leather coat, making him wish he’d thought to grab the thick woolen scarf he’d received for Christmas.

He bounced on the balls of his feet, his toes barely cushioned against the stone roadway by the worn rubber soles of his shoes, trying to increase his body temperature as he waited for his mark. He was still alone – of that he was certain – unless one considered the occasional clop-clop of the horse’s hooves as the delivery men made their early rounds through the city streets or the even less-common backfire from a horseless carriage.”

Creativity is a fantastic tool, and one of the joys of writing fiction is that the author is not restrained by rigid boundaries. That said, creative license can’t be used to alter real life facts unless the author is clearly creating a unique universe. Specifically to this point, automobiles did not exist in London at the same time as the Bow Street Runners. This may seem nit-picky and unimportant, but the smallest detail can ruin a book for a reader.

In Viago’s story, the author had chosen the time frame as eighteen-hundreds England. However, by not settling on a specific time frame before the author began writing, they allowed themselves a bit too much freedom to imagine, and it resulted in the research not being narrowed down far enough. Had they narrowed it down further to a specific year, or even decade, a google search would have allowed an excellent starting point.

If your story is centered in a real-life event – two athletes from warring nations falling in love while competing in the 2012 Summer Olympics, for example – identifying your when presents no challenge and you can move on. Ditto for authors who are creating their own universe. But if your story is set in a real time and place, you’ll want to decide on a century and then make a second list to help narrow it down.

When:

              Length of time?

This might seem silly, but it can make a huge difference. Does your story take place in a single day? Over a long weekend? Through the course of a year? Or over the lifetime of one or more of the characters?

What decade, century, year is it? (Hint: you only need one answer!)

From one year to the next, there have always been changes in the clothing styles, the type of work that people undertook, and the leisure activities that they engaged in, but for stories set in modern times, you will actually do the longevity of your book a favor by not leaning too heavily on social details. For example:

“Brian shifted in his Batman sleeping bag. The lumpy cotton stuffing was doing even less to protect his forty-year-old back from the racks in the concrete sidewalk than it was to keep the twenty-degree weather at bay. Still, he reasoned with himself, once the store opened and he held his newly-released iPhone 6 in his hand, the discomfort would all be worth it.”

You see how the addition of the iPhone’s series (6) immediately points out the lag between when the story was published (or written) and when you read the passage? With one little change – the deletion of the detail – the story becomes timeless. After all, it’s not like iPhones are going away any time soon!

“Brian shifted in his Batman sleeping bag. The lumpy cotton stuffing was doing even less to protect his forty-year-old back from the racks in the concrete sidewalk than it was to keep the twenty-degree weather at bay. Still, he reasoned with himself, once the store opened and he held his newly-released-and-long-awaited iPhone in his hand, the discomfort would all be worth it.”

Once you move past the pesky social lives of the time, there are also legal, political, religious, and economic variances to consider. Throughout history, these have usually been spread more widely apart on a timeline than the social changes.

Depending on the country, political changes can be anticipated at somewhere between two and ten-year intervals, whether that is a 4-year presidential upset in the United States or a modern-era English Parliament election every five years. The more significant economic changes usually begin within a year of political transition, whether that is a new democratic leader or a death in a monarchy or dictatorship.

Legal changes can be harder to anticipate, but a good rule of thumb is to anticipate them within a year of significant political changes and within six months to two years of a major criminal event or social tragedy (think a terrorist attack or a plane crashing due to over-tired pilots).

Religious changes are the most widely spaced events on a social timeline. I am not aware of any generally accepted algorithm for anticipating them, but they tend to slowly evolve over decades or longer.

All of that matters for one reason. Once you have narrowed your when down to your specific time frame, you can pinpoint the significant events that took place before, during, and after it and use that information to bolster your setting, your character’s backgrounds, and your sub-plots.

When you fill in your when list, don’t limit yourself to the events of the country, hamlet, or town that you are anticipating your story taking place in. Your main character may be a Texas mail-order bride from Russia, but its always possible that the reason she allowed herself to be sold was that her husband was killed in the terrorist bombing in Moscow’s Metro in 2010, right?

When you prepare your when, you can do it in any format that you like, but my preference is to start with a simple outline:

When:

                             Duration:

                             Year:

                             Political:

                                           1.

                                           2.

                                           3.

                                           4.

                                           5.

 

                             Legal:

                                           1.

                                           2.

                                           3.

                                           4.

                                           5.

                            Economical:

                                          1.

                                           2.

                                           3.

                                           4.

                                           5.

 

              Religious events:

                                           1.

                                           2.

                                           3.

                                           4.

                                           5.

 

 

This list can also come in handy when you’re working on character backstories, you might want to hold onto it until we reach our who post! Up next week, it’s all about location, location, location when we decide where the story takes place!

How do you write a book?

writing a book image

“How do you write a book?”

An amazing number of the conversations that I’m involved in start with this question. And, based on the amount of money that is spent on writing books, computer programs, plot generators, and the like, many more people out there are struggling with it. Now, not to vilify those tools – for that’s all they are, tools, and they can be a lot of fun – most beginning writers will succeed faster by starting with the basics instead of wasting their hard-earned money on get published quick promises.

And so beginith Nom de Plume’s 2018 Writing a Novel Blog Series…

Every book begins with a story. On the most basic level, every story begins with the same five components, and you already know them. They are the elements in a news report, the particulars of a wedding invitation, the juicy details in the gossip that your best friend just whispered behind a cupped hand. They are the building blocks of our societal lives. I’m referring, of course, to the simultaneously acclaimed and bemoaned when, where, who, what, why, and, for the purpose of plot, how.

I know, I know. Half of you just rolled your eyes. The remainder groaned. It seems like the most basic of information. Still, take a moment to think back to the last book you read. Were there holes in the plot? Characters that you never received the most basic back story for? At the end of the book, could you have explained the location or described the setting that the story took place in? Surely you knew what happened, but why did the conflict become an issue for the characters? How did they move past it to reach the conclusion?

Not only would I suggest using this specific list for beginning writers, I strongly advise answering the questions in the order listed. A surprising number of authors begin by sketching out the main character who has been lurking in the shrouded safety of their deepest thoughts. Then they make glaring errors when they plop him into the setting.

Imagine, if you will..

“Viago skulked in the dank, dimly lit alley behind the Bow Street Runners headquarters of London’s Bow Street Number 4, as it was known through the seedy underbelly of the city. He’d been crouched in the same spot for what seemed like hours, waiting for the flood of thieves and pickpockets that he knew would be coming. The air around him was wet. The mist that would become the morning dew already thick in the air. It clung to his wavy, shoulder-length hair and dripped down the back of his neck to saturate the thin t-shirt inside his cheap fake-leather coat, making him wish he’d thought to grab the thick woolen scarf he’d received for Christmas.

He bounced on the balls of his feet, his toes barely cushioned against the stone roadway by the worn rubber soles of his shoes, trying to increase his body temperature as he waited for his mark. He was still alone – of that he was certain – unless one considered the occasional clop-clop of the horse’s hooves as the delivery men made their early rounds through the city streets or the even less-common backfire from a horseless carriage.”

Wait..what?

Unless our friend Viago is a time traveler – and he isn’t –  how can he be wearing rubber-soled shoes, a thin t-shirt, and a fake leather coat? None of those items existed yet in London when the Bow Street Runners were laying down the law. This is one of the most obvious examples that comes to mind of an author who created a character first and then wrote the scene around him. You can see it didn’t mesh well.

When:

The intricacies of a period can vary widely in only a few months or years. In our example above, we know that the story must be set between the years of 1749 and 1839 because the Bow Street Runners only operated between those years. This raises another issue. The first motorized vehicles didn’t arrive on London streets until at least sixty years after the Bow Street Runners disbanded in 1839. By failing to properly research the period that the story was set in, the author created a number of issues that had to be revised.

Where:

Everything takes place somewhere, and the location of that somewhere is going to impact the descriptions of your characters. If your story takes place in historic London, as our sample did, you’re unlikely to find American cowboys, Italian mob bosses, reality television stars, or low-dollar private dicks in fake leather coats and cheap running shoes. Once you know where your story takes place, crafting your characters becomes a much more fluid process.

Who:

Who are the characters? What is their motivation? Within the first twenty percent of a book, we should be able to identify the main factors that contribute to each character’s persona. We should know their strengths, their weaknesses, and be able to get a feel for how their past resulted in both.

Many authors get caught up in the who of the moment – in crafting deliciously complex characters that leave us emotionally invested in every aspect of their existence – but neglect to tell us why they are complex or how they became the characters that they are.

(In fairness to Viago’s creator, it is impossible to show in the two paragraphs I used, but Viago is actually an incredibly complex character. He is an attractive young vampire who has spurned others of his own kind, only preys on criminals, and continues his human life’s work as a private detective solving crimes for the forgotten citizens of London.)

What:

The what is the meat of your story sandwich, but some authors get so caught up in other aspects of their writing that they inadvertently neglect it. The what should be more than what happened. It should also include what did each character do or contribute (or not) to the situation(s) at hand. What was said? What was meant? What was felt? This doesn’t mean that you need to write a hundred different what questions for each event, but you should understand the causes, feelings, reactions, and implications for the main characters even if you don’t specifically spell each and every one out.

Why:

Ahh…the why! The intertwining motivations of your characters. The history behind the choices they have made in the past. The reasons for the decisions that they are making now and those that they will make in the future.

This is your opportunity to weave all of the details that have been dancing through your subconscious into a story tapestry, and plotting them out ensures that you won’t miss any!

(Why does a down-on-his-luck vampire private investigator struggle to remain on the straight and narrow? Why does he remain a fringe member of law enforcement instead of surrendering to the demon inside him and killing his way through the innocent patrons of a London theatre?  Why does he only feed on the criminal element? Hmmm…. I think one of our most popular NDP authors will be telling us more soon…)

How:

The nuts and bolts of your plot. The minutia and details of how the characters reached the climax. The blind psychic describing to the police the way the knife plunged into the victim that thrashed on the floor in the cheerful kitchen. The tiny Welsh pony struggling up a mountain-side with the rider’s legs dragging the ground on each side. The spurned boyfriend smirking in the light of his cell phone as he catfishes his ex on a dating site, determined to draw his lover back. How it all came together!

Starting next week, I will cover each of these in greater detail in a weekly blog post and I look forward to your feedback and questions!

Every life has a story, and yours is worth telling!

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