Sunday, November 2, 2014

Writing a Series -- Research






No matter what kind of genre you write in, you will have to do some sort of research. Whether about zombies, or murder, or even downtown Kansas City, you will have to do research.

Back in the old days, before computers, I bought books. I would go to library sales, and garage sales, and scooped up whatever I thought might be relevant to my research. Now, I do 99.9% of my research online. Some authors might say that's cheating, but I don't care. I don't have time to read 3 biographies on Napoleon to know he was a cruel dictator. I don't have time to read Shakespeare's plays to find the right quote. I just don't have the time to read period.

And sometimes, being on the internet is a time suck as well. I can't tell you how many writing hours I killed
with research for THE CAPTAIN'S COINCIDENCE. It was all about ships and boats, and traveling time and knot tying, throw in a little American history as well. Nine months later I had a story. Problem was, when I first started writing this story, there was going to be an abolitionist theme to it. The second time around, I had to delete all that. Some research you just can't use without your story sounding like a 7th grade history project.

And sometimes, for all the research you do, you can't use ANY of it. I once spent 5 hours researching boats/ships looking for the perfect boat for Richard to use. I spoke to a learned sea faring man about it, and he told me I couldn't use any of them. They were either too big, or too small, or wouldn't be able to carry the gun load I wanted. So, I built my own ship. I drew up makeshift blueprints and everything. (Another time suck but well worth it.)

Yes, sometimes you can fudge the research, I've done it on numerous occasions. BUT, there's always truth behind the fudge. In THE DUKE'S DIVORCE I found out that gaining an annulment was harder than getting a divorce. So I tweaked my story to fit the research because Robert was going to get rid of Fiona one way or another.

So, what do we do with the research once we find it?
As I mentioned in previous blog posts, there's Evernote, and Scrivenir, and Google Drive, and let's not forget my favorite "Favorites" on my dashboard. You find something on the internet and just click on the "star" at the top of the page. (On Internet Explorer it's near the little house. On Google the star is at the end of the search bar.) Once you have it "starred" it remains on your "Favorites Bar" until you put it into a "folder". I have almost 50 folders and cannot even tell you how many "pages" I have in those.

Organization is the key here. Folders are labeled according to "stuff". I have --

Army
Nautical
Napoleon
Parliament
Regency
Maps
Foreign Office
Home Office
to name a few

So, if we go back to our series about Susie and Bob, the firefighter and the nurse, where do we start? Well, I would start with what shift Susie was working when Bob was brought in. Second, third? And what unit is she in? Critical care, emergency, surgery? What hospital does she work at? Is it real or imaginary? What town does she live in? Is it real or imaginary. If she works in ICU and Bob comes in with burns, what kind are they? 1st, 2nd, 3rd? What does he need to survive? Who would treat him? Doctor? Burn Specialist? ER doc? What exactly does Susie do for Bob?

Okay, so you can see how this scenario would spiral out of control. However, if you don't know at least a little of what you're talking about, the writing would sound flat. "Bob was rushed into the hospital with burns, and brought right upstairs to the ICU."

or

"Bob was rushed to St. Barnabas Hospital with second degree burns on his hands and face. His breathing was shallow, sweat dripped into eyes, and he trembled uncontrollably. X-rays could wait. The attending physician in the ER sent him to the ICU without a preliminary exam, and had the nurse call upstairs to the burn unit requesting Dr. Traeger, the burn specialist, to take a look at him. He also had her call the optician on staff to take a look at Bob's eyes. They were unfocused. Could he have burnt his corneas?"

And in the second paragraph, I ask, could he have burnt his corneas? I have no idea. I wrote it out like that, but in keeping it real, I would have to look it up, (or ask somebody) if a firefighter could actually burn his corneas, OR is it retinas? I don't know. Do you? Research. It will make or break your book.

So, in my Favorites Folders, I would have subjects such as

Town
Hospital
Fire Station
Medical equipment
Arson
to name a few

Now, once I started writing my story, I will naturally have to do more research. Here is where "real" people are your friends. With the Susie and Bob story, I would get in touch with my local fire department and see if they have someone I could talk to about, not only firefighters, but arsonists. Perhaps the Chief could recommend a retired firefighter to speak with. Same with a nurse. I might know one who could take me around the local hospital to check out how the shifts work, which department handles what, etc. (Because hospitals are pretty much zipped up now, you can't just walk around by yourself. You need a tour guide.)

In speaking with Real People, you need good questions. You don't want to take up their time with nonsensical ruminations -- you shouldn't really play the "what if" game with them. Write your story, do your own research, and then, when you feel you need "more", ask the tougher questions.

One thing I will tell you when you're looking up anything on the internet that has to do with firearms or bombs or arson or murder, will set the spam bots onto you, and if you do too much research in one area, or land on a secure site too many times (like the RN and USN) you might get a letter, or a visit perhaps, from the local constabulary. (My story was a little easier to explain away, I was doing research for a Regency romance and needed the history of both. Hence my need for cannons, weapons, and gunpowder research.)

And research can happen anywhere, not just in libraries, or on the internet. On my vacation this summer, I met a man who played the bagpipes. We talked for maybe 20 minutes about his bagpipe playing skills. Do I need a bagpipe player in any of my stories? Not at this time, no. But perhaps later, I may need to know the exact key one begins playing Amazing Grace. OR how many tubes there are? OR where the wind comes from to make the pipes sing. Or just how much pressure does it take to make the bellows operate?

Everything is research, and sometimes you just don't know it.

I always keep a notebook and good pen in the car. If I'm stuck at a soccer game, doctor's appointment, whatever, and there's 45 minutes to kill, I'll whip out the notebook. I won't necessarily write, but I will take notes, make up names for characters, places, perhaps eavesdrop on a conversation and jot it down if it works within my story. I'll flesh out a plot, or write down a character sketch. I'll play the what-if game.

If I'm at home and have 45 minutes to kill before I have to go somewhere or do something, I'll get on the computer and search for characters (remember I'm a "visual" creator) on Pinterest or IMBD (the movie site) or go to ReMax and search for houses and neighborhoods, use Google Maps to look at a city.

I love Google maps because not only do I have correct street information, I also have the "street view". For instance, yesterday, I needed to find another parish in London besides St. James. I plugged St. James's Parish into London, got the map, and then moved my cursor until I found another smaller parish in Grosvenor Square. I looked at the street map of the church (after looking it up on Wikipedia to make sure it was in use in 1812). The church looked exactly as it had in 1812, right along with the neighborhood and street corners. Now I can write my wedding scene using the visual of the church, and not have to worry about where the horses will stand, or how the bride and groom will exit the church.

Another example -- Everyone knows Hyde Park in London. Then there is also Regent's Park. Did you know that Regent's Park wasn't there until after 1812. It was called Marylebone Park.Yes, it is sort of a no-brainer, George wasn't named Regent until 1812, but I did not know that it was called Marylebone Park, and that its history went back over 400 years and that it belonged to the Monarchy as a hunting ground. Did you know that?

Of course, we all do research our own way. Some people research at the beginning. Some after the first draft. Some not until the book is finished. It all depends on how you work. There is no right or wrong way. However, what you need to know, is that research is crucial for every story and you will have to do some.

Next week -- Mash-up of Marketing and Publishing. Hope to see you.

Anne Gallagher (c) 2014



Sunday, October 26, 2014

Writing a Series -- Setbacks

Today we were supposed to indulge in Research as our topic, however, as the blog title implies, we are dealing with a setback today.

I am nearly finished with THE SEDUCTION OF MR. SUMMERVILLE. If you have followed my sporadic Tweets from this week you will see I stopped writing. I would like to say the book is done, but it's not. I need to write the ending. Oh, yes, all the loose ends are tied up, all the plot holes are fixed, I've edited until my eyes are blind. I am right where I want to be, on schedule and everything.

But the book is not moving forward. I'm stuck in the middle of the denouement and it's not working. This happy ending is a little too saccharine. Needless to say, I'm stuck until I figure out a way to fix it. And don't get me wrong, there's nothing wrong with a book that has a happy ending, but as we know, I'm working on the finale to a series. To me, it has to be BIG, and luscious, and just WOW. I want my readers to say, "Oh, hey, let me read that whole series again." I want them to say to everyone, "Oh, you should read this series. It's fantastic." Because the last book has to satisfy your reader, the same way your first book got your reader hooked.

I'm no different than any other writer on this planet. We write so people can read our stories. And we want them to be GOOD stories.

Okay, so here's my secret to setbacks. Let it go. Just get up from your chair and walk away. There's no use trying to eek words onto the page because they'll only be crappy words and you'll end up throwing them all away anyway.

Do something physical. Clean the house, car, garage, kitchen cabinets. Do laundry. Do something that you wouldn't normally do. Rake leaves, pull weeds. Go to the mall. Take a walk. Use the other half of your brain for a few days. Do art (writers are usually creative in other aspects of their lives). Scrapbook. Make tie-dye t-shirts. Find a great picture for your holiday cards. I don't really care what you do, just take a few days away from the story. Allow your brain to think about other things. And I don't mean everyday things. Not the kids homework, or your mother-in-law's birthday party, or Christmas. Concentrate on something else.

Okay, so if you're of the idea that concentrating on your book is first and foremost on your mind, and you don't think rearranging the linen closet is going to work, and you really want to be "working" on it, go to IMBD and search out your characters. Go to ReMax and pick out the houses for your characters to live in. Scour census records for names. Watch movies in your genre. ( I don't have time to read these days, and I can easily give up two hours for a movie instead of eight for a book. I can iron in front of the tv.)

I try to give myself at least three days of non-writing for my brain to decide how to fix the problem. If that doesn't work, I play the what-if game. (I generally only use this as a last resort because the story is already fixed in my head.) If that doesn't work, then I light something on fire. Metaphorically speaking. Sort of. I find something BIG to throw the characters into. In THE CAPTAIN'S COINCIDENCE I blew up a ship. In THE LADY'S MASQUERADE, Penny was kidnapped.

And mind you, this kind of set-back is just a little bump in the road. Sometimes it's referred to as writer's block. Other times, you realize you've boxed your characters into a corner with no way out. (We'll discuss the larger issue of External Controls later on.) But you know you can fix this, it'll just take a little more creativity.

Okay, so I'm three days out on my setback. I've done all the laundry I can find. I've scoured my kitchen floor, I've vacuumed every dust bunny. Today I have to dive back in and see if I can get over that final hump. If it doesn't work, there's a yard full of leaves waiting for me.

And I announced this on my other blog last week. Today it's your turn. Here is the cover for Seduction.








American shipbuilder, Stephen Summerville has a bit of a dilemma when he meets two very beautiful English sisters. However, when Stephen is confronted with the aristocratic father he never knew, deciding on a wife seems like a small task in comparison to what he must decide for his future. The last book in the Reluctant Grooms series coming Christmas 2014.

I'm attempting to make it a pre-order by November 15th. But it won't be out until Christmas.

Next week, we'll tackle research. Hope you'll stop by.

Anne Gallagher (c) 2014




Sunday, October 19, 2014

Writing a Series -- Formulaic Writing

This week we'll take a look at Formulaic Writing. It's a little more detailed than an informal outline, (or even a formal one). There is a definite list of things that need to be taken into consideration. This kind of writing is usually reserved for certain genres (romance, cozy mystery, some sci-fi and YA). We're going to look at romance, because it's what I know.

THE ACTS

Formulaic writing is a technique that is used to bang out manuscripts quickly. There are three acts (basic structure), the word count is generally not high (55 - 70K), and there are minimal characters. Harlequin, Zebra, and Kensington authors were famous (and some still are) for this kind of writing. The formula/outline is laid out like a map, and you just follow along. Basically it looks something like this --

(Remember we're writing romance)

ACT 1

Hero and heroine meet within the first 5 pages.
The goal of the main character is stated.
1st obstacle is shown for the MC to overcome
Sub-plot and secondary characters (if any) are introduced
1st climax (obstacle is overcome)
2nd obstacle is introduced


ACT 2

Goal is re-introduced
2nd obstacle is bigger than the first
Sub-plot and secondary characters are fleshed out
(especially if this is a series)
3rd obstacle is introduced
2nd climax (obstacle is overcome)

ACT 3

Goal is within reach
3rd obstacle is the hardest to overcome
3rd climax resolved
Sub-plots are resolved
Goal is reached
Denouement

Now this is a very simple simple way to look at it. (I'm sure there are 1000 books on writing the 3-act structure for you to peruse.) Let's take a look at how I would plot a book for our friends from last week -- Susie and Bob

ACT 1

Susie and Bob meet at the hospital (Susie is a nurse at the hospital Bob is a firefighter) because of the huge fire that is started by the arsonist
Susie's goal is to get away from her wicked stepmother
Susie's obstacle is she doesn't have enough money because of school loans
Amy, Joe, Larry, and Abby are introduced (secondary characters)
Susie sells her car (1st obstacle overcome)
But she still doesn't have enough money to get her own place (2nd obstacle introduced)

ACT 2

Susie is desperate to get from under her wicked stepmother
She goes on a double date with Bob/ Amy and Joe
Amy doesn't like Joe, she likes Larry (Secondary characters and sup-plots fleshed out)
Wicked stepmother says she won't get any of her father's inheritance if she moves out (3rd obstacle introduced)
Susie has a giant yard sale to get more money (2nd obstacle overcome)

ACT 3

Susie has enough money to rent an apartment -- now she only has to find one (3rd obstacle hardest to overcome)
Amy and Larry get together (spin-off book 2)
Abby and Joe get together (spin-off book 3)
Bob asks Susie to marry him (3rd goal reached)
Denouement -- all goals are met, sub-plots (spin-offs) are tied up (Except for the arsonist who is our underlying problem throughout the series)

Okay, so I know this is a silly simple plot for a story, but that's what I came up with to show you how formulaic writing works.

I do not write like this. I have never used an outline (okay, truthfully, I tend to make up an outline once 2/3rds of the book is written so I can find my ending.) But for the most part, the characters tell me what they're doing. I don't force the writing because then I feel the book is forced. It has no flow. Other authors can do this kind of writing all day long and come up with greatness. We all have our own way of writing. There is no right or wrong. You just need to find what works best for you.

THE NUMBERS

We all know writing is hard work, and if you have a job (and yes, Motherhood is a full-time job) we have to be creative with our time. I used to write for two hours every morning while my daughter was in pre-school. After supper I would edit what I wrote. Now that she's in school full-time, I have 6 hours in which to write every day. Believe me when I tell you, you cannot sit down and write for 6 hours at a stretch. (Unless you're extremely disciplined, have absolutely no distractions, and your characters are well-behaved.)

For the sake of argument, let's say you have 2 hours after supper to write every night M-F. On S/S you gain an extra hour so that's 3 each. That = 16 hours. Some people write fast (when it flows) others write slow (when it doesn't). Again for the sake of argument, let's say we can write 1000 words every night, and on the weekends you take the time to edit those pages and maybe write another 1000 words. That = 6000 words a week. If your goal is a 60K word manuscript, this should take 10 weeks to write. If we give ourselves two weeks for critique partners and beta readers to read and make corrections (and they can do it within those two weeks, and you're editing as you go) you should have a book ready to go in 3 months.

3 months per book = 4 books a year. Ta Da! Congratulations.

However, that is all in a perfect world. We all have lives, laundry, grocery, soccer games, sick kids, parents, work, distractions that keep us away from our writing. Don't be disheartened. We'll discuss what happens when the External Controls keep us from our goal. We'll also discuss the Publishing aspect to a series later on.

Now, I'd also like to say that some writers just write the first draft and then edit the whole thing when it's finished. I can't write that way. I have to edit as I go along. I write a chapter (or scene) and then the next day, I re-read it, and edit it so I can, not only move forward with the story, but keep my storyline in my head. (I am a certified pantster and do not use an outline. I have a "basic" idea of the story, but then the characters tell me what they want to do with it.)

Some writing gurus tell us we have to write every day. I'm not of that mind-set. I can't. Real Life is too complicated. However, when I do tell my family, "I'm writing" they know enough to leave me alone. If I can't get in writing time during the week, I make sure I try and meet my goals over the weekend.

If we remember our poster board from last week, you can have the formulas listed on them as well. Take in the BIG picture before you sit down to write the first page of the first book. See if you can figure out clearly all the plot points, the secondary characters, the obstacles, the climaxes before you begin. Set your writing schedule (but not in stone because things do change) and try and stick to it. It does help when you know you only have a certain time to write every day. It keeps you focused on the task at hand.

Formulaic writing can be a blessing or a curse. It all depends on YOU the author and how you want to write.

Next week, we'll dive a little bit more into research and settings. Hope to see you.

Anne Gallagher (c) 2014

Sunday, October 12, 2014

Writing a Series -- Plotting the Big Picture



Today we will discuss plotting a series. Now, I'm not going to tell you how to plot -- we all know how to play the "what if" game. However, to have a successful series, you might want to think about where it all leads.

Basic Plots

As I said a few weeks ago, there are really only 12 plot lines. (That theory has been discussed ad nauseum and some scholars generally believe there are only 7.) There's a whole construct about the hero's journey that I won't bore you with, but for the sake of argument, let's just go with 12.

In my series, I have used some of these basic plots. (Remember I write romance.)

Wicked stepmother. (sister/father/family member)
Forced/arranged marriage.
Mistaken identity.
Jealous ex.
Lowly servant attracted to an aristocrat. (or vice versa)
Love at first sight.

If you think about it, all romance plots can be utilized by watching any of the Disney Princess movies. It's what you do with them that makes them different. What if...?

Let's take last week's characters and give them plots, shall we?

Susie and Bob -- Wicked stepmother.
Abby and Joe -- Arranged marriage
Carol and Gary -- Mistaken identity
Larry and Amy -- Jealous ex
Linda and Steve -- Love at first sight

As you know, we have already written Susie and Bob's story. Susie has a wicked stepmother who won't let her marry Bob. For whatever reason. But they triumph because love always conquers all.

And because we have all these other characters and plots, we've already decided that we're going to write the next books in the series.

However, just because they're all friends, is that enough to tie them together?

Here is where I feel plotting a series gets interesting and helps fuel your readership.

There needs to be a larger, underlying issue, to tie all these books together. Let's play the what if game.

What if Bob, Joe, and Gary are firefighters? What if Larry and Steve are cops? What if Susie and Amy are nurses at the hospital? What if in the first book, there is a huge fire and Bob and Larry get hurt and have to go to the hospital, which is where they meet Susie and Amy? What if at the end of the first book we find out the fire was started by an arsonist? What if in the second book, there is another fire? What if in the second book, Steve gets promoted to detective and starts working the arsonist case? What if in the third book, Joe gets caught in another fire started by the arsonist?

Okay, so we get the drift. The underlying plot throughout this series of books is the arsonist and how we're going to catch him. This is the angle we'll work and by the end of the series we'll either have caught the arsonist, or spun it off to another series.

In another example, in my series The Reluctant Grooms, Lady Olivia is keeping a secret. She is present in ALL of my books and this secret appears as well. It may only be one or two lines, but it's present throughout, until the end, when I blow the lid off it.

Lady Olivia's secret is the underlying plot-line that holds the series together. The same as the arsonist above. Only at the end do we have the final resolution. Otherwise, I'd just have a bunch of romance novels with Lady Olivia in them.

Timelines

Now, in my series, I wrap each of the novels around another one. While Penny is getting to know William in THE LADY'S MASQUERADE, William's brother Ellis has just hired Violet to be his nanny (THE LADY'S FATE), and Richard (William's good friend) has just met Amanda (THE CAPTAIN'S COINCIDENCE).

I progress through time, yet simultaneously, stop time. If that makes any sense. Put it this way... I just did a load of laundry and will hang it on the line right now. You are sitting at work doing inventory. Your best friend is teaching underprivileged kids in the inner city. My life doesn't stop because yours has started. We are all doing "something" at the same time even though we don't know what that is.

That is what I call a "wrap-around" timeline.

Then there is the "progressive" timeline. I did my load of laundry. After that I will clean the kitchen, after that, I will take out the garbage. After I have taken out the garbage, you will finish your inventory, then you will sit in on a meeting, then you will go to lunch. Once you've finished your lunch, your BFF is going to finish teaching math, then move on to social studies, and then science. Time progresses.

I know you know what I'm talking about so I'll stop the explanation.

However, whichever kind of series you want to write, you need to figure out all the plots before hand, and how they will all tie in together. I used a huge poster board and wrote Lady Olivia in the middle of it. And like a clock, I have all my novels positioned around her (2,4,6,8,10,12) with the basic plot of each book, and where her secret comes out little by little.

At 2, we have the first hint of her secret. By 8 we pretty much know what it is, and there's danger of it getting out. At 12 Olivia is exposed and the series is over. (Also, because I also have novellas attached to this series, at 3,5,7,9, and 11, we also get to glimpse a little more of the secret.)

If we use the example from Susie and Bob, I'll put the arsonist in the middle of the poster board and the 5 books surrounding him at 1,4,7,9, and 11. In book one we meet Susie and Bob. We also meet the arsonist. In each of the next books, we have our love stories, but we also have more of the arsonist. We need to figure out where and when the arsonist gets caught.

Spin-Offs

Let's say for the sake of argument, that you've written all 5 of your books. In the end, we have 5 happy couples, but the arsonist gets away. In the third book, we meet another secondary character called Christopher who transfers to the fire department from out of state. At some point he meets Amy's sister, Jenny. And that's it.

We have one of two choices here -- we can either write Chris and Jen's story, or not. We could also write Chris and Jen's story and include the arsonist who got away leading to another series, or perhaps a sideline of novellas as we meet more firemen and cops and nurses.

It depends on how much you love your characters.

In my series, when Lady Olivia's secret comes out, there's also another piece of backstory that is revealed about Olivia's past. She was in love with another man before she married her husband. In the last book, we think Olivia is going to marry this man and finally get her happily ever after.

This man (Dunbury) was the impetus for me to think about writing another series and how it all ties in to this one. (And in actuality, the Dunbury series runs parallel to The Reluctant Grooms. When Penny is meeting William, Dunbury is meeting Catherine. *spoiler alert*  By the end of Reluctant Grooms, Dunbury is married to Catherine.)


So, to sum it all up, think about what you want to write, how you're going to write it, and where it will all end up. Think about the kinds of books (novels, novellas, novellettes) you want to write. Think about how long it might take you to actually write each story. Do you have that kind of time to invest?

With the advent of e-publishing, readers, if they like your first book, want the next one right away, and the next and the next. E-publishing isn't like old school traditional publishing when they only publish one title a year. (I'm still waiting for Sue Grafton to finish her Alphabet series. Has it really been 26 years?)

We'll discuss how to publish a series in a couple of weeks.

For more information about writing a series, Alexandra Sokoloff is also doing a blog series you might want to check out as well.

Any Questions?

Anne Gallagher (c) 2014