A Cool Writing Tool!

Whether you're participating in Speedbo (hosted by the Seekers over at Seekerville), working on a book with a deadline set by a publisher, or simply writing on your own timetable, it's nice to have a way to keep track of your progress. As a participant in Speedbo, I went on the hunt for a widget to put in the sidebar of my personal blog that would display my current word count along with my goal word count. I found a progress meter widget I really liked on a friend's blog (Legacy of a Writer), and I created my own through the Story Toolz site.

Now, I've only been using this widget for about a little over a week, but from what I've seen so far, it's quite helpful. Here's what the widget for my WIP looks like as of now (Sunday night):


I like the colors, and it's fun to have my WIP title on there, too!

Story Toolz allows you to write a general note about your book (probably safest not to put TOO much information on this public site, if you know what I mean!), as well as comments for every word count entry you enter. It also creates line graphs for your weekly progress.

I think having a widget is nice so that you can see how each little chunk of writing adds up. And this particular one is extra cool because of the notes it allows you to make along the way, which can either help you when you go back to edit, or at least put a smile on your face when you look back on your thoughts as you finished each scene. =)

Note: You do have to create an account by entering your e-mail and creating a password. I haven't experienced any adverse effects because of this, but again, I haven't been using it for very long. So, in other words, proceed at your own risk!

Do you have another word count widget you prefer? Or do you know about some other cool author tools?

(P.S. If you go to my personal blog, you can click on the widget in my sidebar to see examples of the graphs/notes I have so far.)

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Characterization 101 ~ First Impressions

I have a friend who tends to write her female characters too harshly. Because of this, her critique group will often express how much they dislike her heroine. It's a problem I also struggled with as I developed characters in my early years of writing (okay, like last year). I can't tell you how many times I would re-write chapter one. Constantly tweaking dialogue and character qualities and. . .well, you get the point. Thankfully I have learned a trick that works to create a better first impression for my characters.

How do you write about a character who has issues in such a way that makes them likeable?

Think of their qualities.

Redeeming qualities, if you will. We all have them. What I have discovered as a writer is that it is possible to put off showing a characters dark side long enough to establish some good traits or tendencies. Instead of showing your shattered-heart heroine's bitter, impatient attitude toward others, because, afterall, that's how she really feels inside, give her a prop. Something that she cares deeply about, whether it be a dog, bird, or a hobby. Or maybe she is devoted to her aging mother. Whatever it is, be sure to show that soft side, then segue gently into showcasing her edginess.

First impressions count. If your reader doesn't like your character or make a connection, then you're sunk. Can you mix both elements? Edginess with redeeming qualities? I'm sure you can, but please be sure to let someone else, preferably more than two people, read your first chapter and give you feed back. If one of the three critiquers doesn't like your character then you might have a problem. But if two of three critters don't like your character, you *know* you have a problem. Of course, if all three unanimously hate your character. . .oh, dear. Back to square one.

Happy Thanksgiving to everyone!

S. Dionne Moore is author of cozy mystery, Polly Dent Loses Grip, a 2010 Carol Award finalist, as well as several historical romances. Visit her at www.sdionnemoore.com.

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Backstory 101~Natural Learning Curve of Relationships

After a long weekend that included this:


Here I am back behind my desk waiting to wow you with all things related to backstory.

Hey, stop yawning!

Last week we explored the reasons why backstory doesn't work when used in paragraphs or, gasp, entire pages. 1) It slows the story pacing before the story ever gets off the ground and 2) It ain't natural-like.

Okay, so we didn't really explore the second one, but we are today. One of the reasons backstory is frowned upon within the first three chapters is it does not follow the normal learning curve of a relationship.

When you meet someone new, what do you know about them? Right. Nothing. Wouldn't it be odd for this stranger to sit down and begin telling your their entire life story? Most of us would beat it out of there real quick.

In the natural curve of relationships, only after a period of time do you start to pick up on little comments the person makes that hint at a rough upbringing, or a nasty divorce, or whatever. The point is, it takes you a while to realize your new acquaintance has rough edges and/or problems. This is one of the reasons why dropping hints about your character in those first chapters is much more natural than dumping paragraphs of backstory, it reflects how we interrelate with people.

Write your story in this manner. As if the person reading is seeing your character for the first time. Then, through a series of narrative, events, and interactions with other characters, begin revealing your character's problems and the conflicts they will have to face to reach their goal.

Oh, and before I forget, last weeks winner is. . .Amber S. I had to work hard to overlook her tendency toward weird baaaa-rnyard humor, but I persevered and have to admit that I was moo-ved by her in depth answer to my questi-oink. Great Job, girlfriend!

For those of you who didn't win anything but really want another chance. . .try and guess where the sunset picture was taken. If you're happen to nail it, I'll give you Lisa's car. No wait. Just kidding there. What I meant was, I'll give you. . .well. . .directions how to get there? Yeah, that's it!

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Backstory 101

July 20, 2010

Backstory is everything that has happened to your character/s before chapter one.

The problem with backstory is simple. It slows down the story before it ever has a chance to get started. It tells too much about the character. It gives away too many elements of the character that are critical to the story.

Think of it. How often do you meet a person and automatically know everything about them? You don't. You learn who the person is very slowly over a period of days, months, and sometimes years. Your story is the same way. Allow the reader to get to know the character slowly, through snippets. Backstory should be woven throughout the manuscript. Peppered in to give the story some spice at just the right time.

So why is it so easy for a writer to fall into the backstory chasm? Many times it’s because, subconsciously, you are trying to get a handle on who your character is, where they came from, and what kind of upbringing they had. You see, what you’re really doing in those first chapters is a character sketch!

You could also be struggling with where to start the story. I’ve often heard editors encourage a writer to cut the first chapter, or even the first two chapters, because after those chapters comes the *real* story. In other words, those first chapters are filled with backstory that is unnecessary to the *real* story. The same solution is applicable. But don't throw those chapters away, cut and paste them into another document and keep it. You will need to refer back to it throughout the writing of your manuscript.

Remember, a reader wants to be swept up and carried away to a different world with different characters, and they don’t want to wait until chapter two to get there. This is why it is up to you, as the writer, to find the perfect place in which to begin your character's journey.

Let's look at some examples of backstory within the first paragraph of the first chapter:

Example 1:

Belinda froze in place. Ever since she was six she knew this would happen. Her father had always warned her she should be careful on the prairies during thunderstorms. Tornadoes could occur at any moment. And they could kill. Just like the wedge shaped one that had killed her mother when she was six. And that’ s when she’d had the premonition. The one that told her she, too, would be killed by a tornado.

Example 2:

You picked a fine time to leave me, Lucille. Garrett Thompson flicked on his turn signal and wished the tune coming from his radio was the song with the same line, instead of his reality. His Lucille, however, was really called Lucy. She would have hated being called Lucille.

Garrett eased into the right lane ahead of a Mac truck going far too fast. He kept his eyes on the vehicle until he knew it would slow. His mind sifted back over the events that led up to Lucy’s goodbye. She wasn’t the prettiest girl in the county, but she sure was the smartest and the kindest, though her tantrum twenty minutes ago sure supplied evidence to the contrary.

Example 3:

Thimblewyeth was a young woman of fourteen. She enjoyed listening to westerns and old-time radio, despite being a child of the twenty-second century. Even her mother, steeped in her own generation of 2182, couldn’t understand Thimblewyeth’s delight in stories over a century old. But her father understood. He was tall and had a pot belly, but he listened to Thimblewyeth talk of cowboys and range wars as he worked on his aircar or tinkered with the programming on their robutler, who could never seem to get the morning coffee quite to her father’s taste.

Three very different examples. Are these, in your opinion, good starting points for the story. Why or why not? Which of these examples relies too heavily on backstory? What would you do to change these pieces to make them acceptable?

S. Dionne Moore is a multipublished author of both cozy mystery and historical romance. Find out more about her and her books at http://www.sdionnemoore.com.

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