#SOCS Platforms for #Authors

This post was written in response to Linda Hill’s weekly stream of consciousness Saturday prompt

The Friday prompt for this Saturday is: A word that starts with “P.” Find a word that begins with the letter “p,” and make it the theme of your post. Bonus points for starting and ending your post with a “p” word. Enjoy!

Platforms

Platforms are important places for travellers and authors.

We look for them, rush to them, we wait at them, we pace up and down physically, or perhaps we’re quite still, and it’s just our mind working overtime thinking about where we’re going, whether we’ll arrive on time, who we’ll have to travel with, who we might meet on our journey, why the train is taking so long…

The reason I’ve started this interior monologue with platform is because this morning I just happen to read an article by Jane Friedman about author platforms. In her informative article, she says that, an author platform is ‘an ability to sell books because of who you are or who you can reach.’ Writers are constantly being reminded of how important author platforms are and how writers should build them up even before they start writing.

This means we all need to have a blog, a twitter account, Facebook author page, Goodreads and Amazon author pages, Pinterest boards, Instagram photos, etc. Fortunately, I love social media. I’d been using Facebook and twitter for fun and for sharing information with friends and family long before I started my writing career, so for me it was a case of learning to use it more efficiently for my author purpose. I also need to work more on my platform, including an author newsletter, which I haven’t started yet.

I can imagine how daunting, or even unpleasant, it is for writers who dislike this type of interaction. Perhaps they can survive/be successful without an online author platform, but I seriously doubt it.

Platforms are stages on our journey.

When we’re travelling by train, our destination is a specific place, and once we arrive and leave the platform behind, we can forget about it, until we need to travel again.

Unfortunately, it’s not the same if it’s an author platform, although our platform will hopefully be taking us on our journey to publishing, connecting with readers, selling books, etc. We can’t stop using them once we arrive. Author platforms have to be present in our lives constantly, and we need to update them and interact with others constantly.

This interaction takes up valuable writing time, and while some writers consider it’s a waste of time, it would be wiser to consider it as an investment, a permanent and ongoing investment, which will accompany us throughout our journey or writing career.

Author platforms are not only important for independent authors. Successful, traditionally published authors like Stephen King, Ken Follett or J. K. Rowling are regular users of their author platforms, too.

So I suggest you spend/invest part of your ‘writing’ time on promoting your author platform, right now!

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That was stream of consciousness, but I’m adding a few links, including one to the article which sparked me off, in case you’d like more information about author platforms.

Here’s Jane Friedman’s

Charli Mills at Carrot Ranch, the home of Rough Writers, has also written a series of articles on building an author platform.

Remember:

#FridayBookShare A Hollow Heart by @AdrienneVaughan

#FridayBookShare was created by Shelley Wilson for book lovers to share what they’re reading. The idea is to answer a few simple questions about the novel and post on Fridays.

Today, I’d like to share A Hollow Heart by Adrienne Vaughan

First line of the book.

The runner pushed open the office door, a bundle of newspapers gripped tightly under one arm.

Recruit fans by adding the book blurb.

This heartrending mystery thriller is the story of Marianne Coltrane a feisty, award-winning journalist who uncovers a devastating travesty of justice involving the sale of babies by the church in Ireland. Fighting her corner in the male-dominated world of newspapers she witnesses a terrorist attack that changes how she thinks about her future and what she really wants. Taking herself off to the wilds of the west of Ireland to re-evaluate her life, she encounters the soon to be world-famous actor Ryan O’Gorman, to her mind the most conceited, infuriating man in the world. He in turn loathes journalists, especially female ones. One thing they do have in common is they both think their chance of true love has passed them by. As they both begin to fall in love with Innishmahon, their spiritual home, they discover the very fabric of the island is threatened and as the islanders find themselves in grave danger, Marianne and Ryan join forces to save that which they hold most dear. But the road is rocky for this fiery, opinionated pair … and when Ryan discovers his ex-fiance is carrying his child, things take a turn for the worst. Can he talk his way out of this one? And will Marianne even care, when she unwittingly reveals the most devastating secret of all, the truth behind her past and her own parentage.

Sexy, moving and funny, this heart-warming duo and cast of colourful characters will stay with you, long after the last page leaves you smiling.

Introduce the main character using only three words.

Marianne is ambitious, loyal and determined.

Delightful design (add the cover image of the book).

Audience appeal (who would enjoy reading this book?)

Anyone who likes contemporary romance and drama in a story with many twists and turns.

Your favourite line/scene.

After some traumatic events, including her fiancé, George’s unexpected death, and stress at work as a journalist, Marianne decides to move to Ireland for a break. There she runs into Ryan, a famous actor she’d met in England. George and Ryan had been friends in their youth. This short paragraph is taken before she had even thought about leaving England or meeting Ryan again in Ireland.

There are two more books in the series:

And Adrienne has just published a collection of short stories and poems:

Writing Dialogue in Fiction #writingtips #amwriting #writerslife

I love writing dialogue and I include plenty of dialogue in my novels, but I also find it’s one of the hardest parts to get just right.

Writing the dialogue itself isn’t so demanding, it’s padding it with all the necessary contextual information within a novel that causes the problems.

Here are some notes I’ve made for myself to remind me of what I need to think about and do to make my dialogues relevant, vivid, authentic and natural.

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Dialogue is a great way to show (not tell) the reader about character and plot.

Think about the purpose of the exchange, and remember that every scene in the novel should:

1) Show character Or 2) Reveal plot

1- Show character

This can be done subtly or specifically, depending on the importance of the character or the aspect you want to disclose.

What does the character say? And how does this show how he thinks or feels about what he’s done or is going to do, or about other characters… Are the characters lying? Purposefully? Inadvertently?

2- Develop plot:

It’s also a great way to reveal plot or add a plot twist (or red herring!).

Is there something new you want the reader to know? Is it part of the plot? A plot twist? A lie to confuse the characters and/or reader?
Is it a past event you to remind the reader about (in a series) or something the reader has not been told before?
Is it foreshadowing or giving clues to an event which may soon be taking place?

What to add/think about when writing your dialogue.

If you were writing a play, you wouldn’t have to think much about this. You could add some stage directions, but mainly the director and/or the actors would add the speaker’s actions, clothes, setting, props etc. to the dialogue. In a novel, the writer has to think of ways of transmitting this information.

Characters aren’t still or in a vacuum when they talk. They’re doing things and thinking about things. Their senses are aware, so they can hear, see, smell, taste and feel. They’re in a specific place which can bring memories or give them specific vibrations. They’re with people who can make them feel differently, too.

Although the actual conversation is our aim, and it’s probably what we write first, at least I usually do, later on we need to make it real. Create the context for the reader to understand and feel what the characters feel, which is not necessarily the information they give when they’re actually speaking.

Some specific questions to ask yourself:

Where are the characters? In general (e.g. a hotel) and specifically (e.g. on the terrace in their room)
Why that place in particular and not another?
What are they seeing? Near (e.g. on the floor) and far (e.g. on the horizon).
What are they thinking about? Present conversation? Past events? The place? The person they’re talking to?
What are they hearing? What does it remind them of? How does it make them feel?
What can they smell? What reaction does this have on them?
Are they sitting, standing, moving? Are they doing something while they talk?
What kind of atmosphere do you want to create? Tense? Romantic? Mysterious? Relaxed?
What are their facial expressions, movements and gestures like?
Are they interested or pleased to be having the conversation? If not, where would they like to be? Or what would they like to be doing?
What are they wearing? What does it tell us about them? The place? The situation? The time of year?
What’s their relationship? Does the reader already know? Does he need to know anything else? What do they think of each other?
What’s their motivation for the conversation? Was it prepared, unexpected, on one side or both?
What day is it? Time of year? What’s the weather like?
What have they been doing before?
What are they going to do next?
What’s on their mind?
What’s happening around them?
Who’s entering and leaving the place or the conversation?
Are the speakers alone? If not think about other people there, what are they doing? listening, watching, oblivious…

Remember:

Identify the aim of the conversation regarding character and plot.

Don’t ramble or tell the reader things they already know.

Reduce tags and tags with adverbs to a minimum.

You can make characters unique by the things they say, expressions, or gestures they often make, the clothes they wear, etc.

Read it out loud: think about length, repetition, authenticity, flow, does your main point (plot/character) come across? You’ll probably need to tweak it a few times, at least I certainly do!

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I have these questions pinned to my notice board. I refer to them once I’ve written the first draft of the conversation. It helps me give more depth to my dialogues.

I’d love to hear from you:

How do you approach your dialogues?

Do you write them straight off or do they go through various stages?

Any more tips / ideas for writing dialogue?

Carrot Ranch #FlashFiction Challenge: ‘What if?’

This post was written in response to Charli Mills weekly flash fiction challenge.

January 5, 2017 prompt: In 99 words (no more, no less) write a story about a rattling sound. It can be an intimidating sound of protest, a disorienting loud sound, a musical expression or a gentle baby’s toy. Go where the prompt leads you. To take part, join in here!

Today’s flash was inspired by the Christmas season, which has just passed.

The Good Nephew

‘Go away,’ he shouted, covering his head with the woollen blanket, but the rattling grew louder.

‘Leave me alone!’ He was trembling.

More rattling.

‘I don’t want to go there again!’

‘I warned you last Christmas,’ came the ghostly echo with more thunderous rattling.

Minutes later, the ghost discarded the heavy chains and stood by the skeletal corpse in the icy bedroom.

‘I was only reminding you to keep your promises,’ he said closing Ebenezer’s blank eyes.

Then he opened the safe where the miser kept the gold coins and dropped them into his purse.

‘Rest in peace, uncle.’

***

One of the strategies I use in my retellings of Victorian fiction are ‘what if’ questions.

In the case of A Christmas Carol I asked myself:

What if Scrooge didn’t change after all?

What if there were never ghosts, just a trick to scare the old miser?

What if the nephew wasn’t such a good person?

What if his nephew, became more greedy and tired of waiting to inherit?

The same story with a ‘what if’ becomes another story, which is complimentary to the original story. The more feasible the ‘What if’, the more credible your new version becomes.

There are many possible ‘what ifs’ to any story. Here are some more for A Christmas Carol:

What if Scrooge was an opium addict instead of a miser?

What if Scrooge wasn’t as rich as people thought?

What if the ghosts were time travellers?

What if his nephew was really his son?

What if Scrooge had killed Marley to take over the business?

The options are endless and exciting if the questions are reasonable. It can also work with ‘unreasonable’ what ifs.

For example, if I asked, ‘What if Scrooge was really Prince Albert who was bored at home with Queen Victoria?’ It might work as a nonsense story, but not as an alternative version.

In the Eyre Hall Trilogy, my sequel to Jane Eyre, some of my ‘what ifs’ were the following:

What if Bertha had a child in the attic?

What if Rochester had the child removed?

What if Bertha’s daughter returned to Eyre Hall as an adult to claim her birth right?

What if Rochester went back to his old ways shortly after marrying Jane?

What if Jane stopped loving Rochester?

What if Jane fell in love with another man?

And many, many, many more!

Creating alternate, complimentary, versions of well known novels or stories is fun and creative, because it opens up a whole new world of possibilities.

I love reimagining fiction and reinventing stories.

Some people criticise me for doing so. I answer that writers have been borrowing stories and retelling them since pen was first put to paper (Chaucer, Shakespeare and Scott, did it all the time! Even Dickens did it occasionally).

My retellings are a tribute to the original authors and works, and I consider it an honour to be able to share my reimaginings with my readers.

Do you ever venture into the world of ‘what ifs’ in your writing?

WRITESPIRATION #97 52 WEEKS IN 52 WORDS – WEEK 1 #Resolutions

This post was written in response to Sacha Black’s first weekly prompt for 2017. 52 weeks in 52 words.

Sacha will post one prompt a week for 52 weeks, and the challenge is to write a story in just 52 words exactly. Sounds like a fabulous idea. The value of conciseness for a writer is invaluable, as Sacha herself reminds us: ‘The art of being concise is nothing if not a muscle flexing ‘write’ bicep curling device’.

Today’s prompt is to include ‘The timer started’ somewhere in the text.

Here’s my take, a very seasonal and very personal one.

I’m getting rid of all the surplus stuff, no more whining.

This is my one and only resolution for 2017.

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The timer started.

New year.

New resolutions.

New hopes.

New challenges.

Ready, steady, go!

How many?

Just one.

Keep writing.

Novels, blog posts, tweets, flash fiction, fiction challenges, poetry,

Emails, messages, postcards, letters, short stories, notes,

Words and more words.

Because when I stop writing,

My timer will have stopped.

The end.

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Thank you for the prompt and for the challenge, Sacha.!

If you want to take part, here’s more information about the challenge.

My Favourite Novel: Twelfth Night at Eyre Hall on #kindle Countdown Deal

Today is a very special day for my novel Twelfth Night at Eyre Hall, because Twelfth Night is the night before the twelfth and final day of the Christmas season, which started on Christmas Day, and that day, the 5^th of January, is today. Although it’s no longer celebrated in the UK, it used to be a merry festivity in Victorian England.

Asking a writer to choose a favourite novel is like asking a parent to choose their favourite child. I’m going to own up to the truth here, Twelfth Night at Eyre Hall is my favourite novel. It’s a quick and easy answer, because I enjoyed writing it so much more than the others.

Let me explain, book one, All Hallows was hard to write because it was the first and I had to prove to myself, and my readers that I could do it. I could write a novel. It was a cathartic experience and although I’m thrilled with the result, it was also stressful process.

Second came Twelfth Night, and I felt liberated and capable, so I let my imagination run wild and wrote the most exciting, adventurous and optimistic novel in the trilogy. Twelfth Night has everything that can entertain a reader: wonderful and varied characters, servants, villains, murderers, heroes, supernatural beings, pirates, children as well as adults. There’s romance, a murder investigation, child theft, blackmail, unveiling of family secrets, and a sea voyage. The settings are varied, we move away from Eyre Hall and travel to Dickens’ Victorian London, there’s also a sea voyage across to colonial Jamaica.

Although it’s part of a trilogy, it can be read as a standalone. There is no cliff-hanger ending, the ending is satisfactory, although not happy ever after. I hope readers will read the final instalment, Midsummer at Eyre Hall, but Twelfth Night is a self-contained novel.

The titles of the three books represent the day one of the major event in the novel takes place. In the case of twelfth Night, a significant event takes place. It’s the death, or rather the murder of one of the characters. I can’t say any more without including a spoiler, but I can read the first two paragraphs of the chapter, which is narrated by Jane.

Chapter XVI

Twelfth Night at Eyre Hall

The morning after Twelfth Night, Eyre Hall woke up to an alarming blizzard. I had risen and was looking out to the vast whiteness where no shape, human, animal or natural, could be discerned due to the snowy curtain pouring down. I pitied anyone who would have to leave the house in such weather.

I turned my thoughts to Michael, in London. No doubt, the weather as always, was kinder there. I wondered if he had found Helen, and how soon he would return. He had said by Twelfth Night, so I was looking forward to his arrival shortly. The snow might slow down his journey, but it was a small impediment for such a tenacious person. I wondered wistfully as Nell helped me dress, if we could ever be together as any couple who are in love, but we were not any couple. There were so many obstacles in our way, although now, more than ever, I was sure our future was entwined, and we would find a way to overcome all the complications.

I was shaken by cries coming from Mr. Mason’s room…

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So, if you’d like to read a Victorian Gothic romance, including some of the characters in Jane Eyre and many other engaging characters, in a novel which is full of mystery, suspense, romance and adventure, now is the time to give Twelfth Night at Eyre Hall a try because it’s on Kindle Countdown Deal at less than a dollar or a pound until the 11^th of January.

Amazon USA

Amazon UK

And when you read it, don’t forget to write a review, just a line or two is enough, and let me know what you think.

Happy Reading and Happy New Year 2017!

#IWSG Plotting & Pantsing #amwriting

This post is written in response to the insecure writers support group’s monthly prompt.

January 4 Question: What writing rule do you wish you’d never heard?

I’ve been thinking hard about this question all day, and I can’t think of an answer. I don’t think I’ve ever heard a writing rule which has influenced me so strongly and negatively that I wish I’d never heard it.

I’m not aware of following rules when I write. I do listen to other author’s advice and opinions, and I’ve read many books on writing, but I’m aware I have to adapt this information to my own way of writing, my story and my characters. I’ve always trusted myself to write on my own gut feeling. I write because I have great fun recreating imaginary worlds, characters and stories. I’m mainly concerned with pleasing myself, although I also worry about not boring or annoying potential readers. What’s the point of that?

The single most useless piece of advice was probably don’t plot, just write and go with the flow. I’m not sure exactly who said it first, but I’ve heard it a lot. It might work for some people, although I doubt it, but if I did that I’d end up with a disjointed mess, not a publishable novel. Writing, plotting, planning, editing, re-writing, re-editing, re-plotting are a constant cycle in my writing process.

Some people attribute this idea of not plotting to Stephen King, but he never actually said he didn’t plot, he said he didn’t use ‘written outlines’. He said he starts writing and lets the ‘patterns’ develop later.

“I start a book knowing just two things: the basic situation and that the story will create its own patterns naturally and organically if I follow it fairly…and by fairly I mean never forcing characters to do things they wouldn’t do in real life…For me, the first draft is all about story. I trust that some other part of me—an undermind—will create certain patterns.”

On the other hand, other authors, such as J. K. Rowling or Ken Follett , don’t start writing their novels until they’ve worked out a detailed plot outline.

It seems that both approaches work, as they’re used by successful authors who write excellent novels.

This is how I’ve done it in my first five novels (three published and two in process).

My first phase approaches King’s advice (pantsing).

1- I start with some characters, usually one or two at first, and an idea or situation, which I explore.

In order to explore, I start writing my story, not knowing where it will go yet.

I don’t start serious planning until the idea itself has developed into a complete story with more characters, scenes, places, etc and I’ve convinced myself I’m interested in pursuing the idea and telling the whole story.

This is a crazily creative period which usually takes about one month to write 20,000-30,000 words.

2- At this point, I start outlining my plot. I divide it into the basic three-part dramatic arc; exposition, climax and denouement, which are subdivided into about 30 chapters and 40-50 scenes.

Perhaps Follett’s approach relies too heavily on outline, but I can see that it helps, especially if your novel is a complex web of characters and events spanning various decades.

More about my writing process here.

Although plotting versus pantsing is an interesting debate, I wouldn’t say it’s very helpful for authors, except that it helps us reflect upon our writing process. We each have to find out what works best for us and our type of novel.

However, if you’re very intersted in this debate, this article is enlightening and Ken Follett’s Mastercalss on his blog is priceless advice on outlining.

More about Insecure Writers Group Here

Happy New Year to all fellow Insecure Writers!

Carrot Ranch #Flash Fiction Challenge: Cozy, At Last

This flash was written in response to Charli Mills weekly prompt.

December 29, 2016 Flash Fiction Challenge prompt: In 99 words (no more, no less) write a cozy story. What is it to be cozy, to experience Danish hygge? It doesn’t need to be culture-specific, but it can be an interesting point of comparison or contrast. A character might long to feel cozy, or you might describe the perfect cozy scene. It may or may not include Prosecco. Respond by January 3, 2017 to be included in the compilation (published January 4). Rules are here. All writers are welcome!

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I’m in a romantic mood this Christmas, so my flash is a romance. It includes love, betrayal, heartbreak, reconciliation, and a happy ever after ending, all in 99 words! The flash is set during the present New Year and has allusions to Victorian author, Thomas Hardy’s novel, Far From the Madding Crowd.

Portrait of Thomas Hardy by William Strang,1893

Gabriel Oak is one of my favorite fictional heroes. He’s reliable, loyal and forgiving. He’s also hardworking and honest. I’d say that comes pretty close to perfect. Bathsheba is the fickle heroine, and Troy is the dazzling soldier who seduces her, but Bathsheba is luckier than Tess of the d’Urbervilles. Her story has a happy ending, because Hardy gave her a second chance and a worthy hero.

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Cozy, At Last

‘We’re waiting for you, Sheba.’

‘I’ve got a terrible cold.’ I coughed loudly.

‘Troy’s here. Says he’s sorry.’

‘Battery’s dead,’ I said before switching off my phone.

I returned to my comfy sofa, blazing fireplace, glass of wine, Casablanca on TV, tissues. Misery.

My best friend walked in using the spare key.

‘Any more wine?’

‘Help yourself.’

‘Bought you a Christmas present.’

‘It’s 2nd January.’

‘Better late than never.’

I unwrapped a copy of Far From the Madding Crowd.

‘This is cozy. Can I join you?’

I cuddled up. ‘I missed you, Gabriel.’

‘Glad to hear that, at last.’

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gabriel-oak — **Gabriel and Bathsheba From the 2015 film**

#SilentSunday True Love

#SOCS First and Last

This post is written in response to Linda G. Hill’s weekly stream of consciousness prompt. Here’s the link if you’d like to join in.

Too much fuss is made over firsts and too much drama over lasts.

In my experience, first times are usually pretty disastrous. First day at school, first crush, first kiss, first job, first attempt at a novel… Need I go on?

First attempts at anything need more practice, don’t they?

On the other hand, Last attempts are full of acquired knowledge. We’ve done it before and we’ve improved. In fact we’ll have to settle for it being our best effort. If it’s our last there won’t be any more room for improvement.

The last attempt may not be the best in the world, but it’s our best mark and in any case it’s probably much better than our first attempt.

Today’s the last day if the year and it’s much better than the first. I’ve learnt from trial and error and experience.

It’s been a good year and a fabulous last day, which is coming to an end. I’ve spent the day by the beach, which is my favourite place, with my grandchildren, husband and children, who are my favourite people, so I really can’t complain.

A few of last year’s landmarks:

My fourth grandchild was born.

I completed my trilogy. The last novel, Midsummer at Eyre Hall, was published in June.

I’ve started some new literary projects, which I will be telling you about in 2017.

I visited Bratislava and Budapest, two European cities I had never visited before.

I went to my favourite city, London, and stayed with my best friend, Anna.

I visited my cousins, who are scattered around Spain and the UK.

I’ve read tons of great books and discovered my new favourite writer, Ken Follett, whose Fall of Giants and Winter of the World are a fabulous mixture of history and fiction.

It’s been a fabulous year and a wonderful last day.

Thank you for being there and reading about all about it.

Last is always better than first because the best is yet to come.

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Chapter XVI

Twelfth Night at Eyre Hall

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