7 Tips for Evolving from Nonfiction Writing to Engaging Storytelling

by Jodie Renner, editor & author 
   
Are you already pretty confident with writing articles, blog posts, essays, term papers, or business reports? Maybe you've even written a nonfiction book or two? Congratulations! Now you're thinking of trying your hand at writing stories or a novel. Sounds great. So making the transition to creating engaging fiction that sells should be no big deal, right?

Not.

There’s actually a significant learning curve to recognizing and mastering the essential elements of writing fiction that captivates readers, sells well, and garners glowing reviews.

As an independent editor specializing in popular, fast-paced fiction, I often receive manuscripts from professionals and others who write a lot of nonfiction and are attaching a draft of a novel or short story. They often assume that since they’re used to writing, the transition to fiction will be easy.

Not so.

Nonfiction writers and first-time novelists often don’t realize the importance of issues they’re simply not aware of, so they ask me for “just a light copyedit.” When I start reading their manuscript, I often notice right away the story seems to lack sparkle. It doesn’t engage me or make me want to keep reading.

The characters often seem bland, lacking in charisma, worries, and secrets; the main dilemma isn't serious enough to make readers worry about the protagonist (which is essential), and there's not enough tension and intrigue.

The writers, although accomplished in their field, have little or no concept of the critical aspects of point of view and showing instead of telling.

Other issues I see are writing that is just too “correct” and distant for storytelling, with stilted dialogue, too-frequent author intrusions, and bland, neutral narration. Finally, the writing often meanders along at too leisurely a pace, lacking sufficient conflict, tension, intrigue, and general zing.

The following tips, for anyone wanting to master the art of storytelling, will help you bring your characters and story world to life by loosening up your language, getting up close and personal with your characters, letting them tell the story, and showing their emotions and reactions.

Of course, you’ll need to start with a fascinating main character with a driving goal who has a daunting dilemma or encounters a serious obstacle, critical problem, or formidable adversary. Add in a memorable setting, some interesting supporting characters, and some conflict and intrigue. Maybe a love interest.

Here are seven essential style elements for a successful transition from informative, fact-based writing to entertaining, compelling storytelling:

1. Get into your character’s head – and stay there.

Start right out in the point of view of your protagonist and show the events through his eyes, with his internal reactions. Forget omniscient point of view – it’s no longer in favor, and for very good reason. Readers want to get “up close and personal” with the main character, so they can become emotionally engaged and drawn into the story.

Show your character’s thoughts, perceptions, and inner reactions to what’s going on right away, so readers can identify with her and bond with her. Don’t head-hop to other characters’ thoughts within a scene. To get into the head of others, like the antagonist or love interest, give them their own viewpoint scenes.

2. Stay out of the story as the author.

Let the characters tell the story, in a natural way that is authentic to the story world you’re creating. This will keep the readers immersed in the fictive dream. Don’t interrupt the story by stepping in as the author to explain things to the readers. In other words, avoid info dumps and other author intrusions.

3. Make sure your story has plenty of conflict and tension. 
  

Conflict is what drives fiction forward. No conflict = no story. Not enough conflict and tension = boring. Every scene should have some conflict and a change. Every page should have some tension, even if it’s just an undercurrent of unease, disagreement, or resentment.

4. Loosen up your language.

Again, “let the characters tell the story.” Forget perfect English, complete sentences, convoluted phrasing, or fancy-schmancy vocabulary. Use direct language and strong imagery, in the character’s thoughts, colored by their personality, education, background and attitudes. In other words, stay in your character’s mood and voice, using words and phrasing they would use, which also fit the overall tone of the story, rather than a more correct, neutral language.

5. Show, don’t tell.

Don’t step in as the author to tell your readers about your characters or their background or to relate something that happened. And don’t have one character tell another about a critical event that occurred offstage. Show important scenes in real time, with action and dialogue.

Also, to bring your characters alive, be sure to show their emotions, internal and external reactions, and physical sensations. Are they hot, cold, exhausted, hungry, tense, worried, scared, elated?

Evoke all or most of the five senses. Don’t just show what the character is seeing. What is she hearing, smelling, feeling? Even tasting?

6. Use snappy dialogue.

Dialogue needs lots of tension and attitude. Be sure your dialogue doesn’t all sound the same – like it’s the author speaking. Each character’s words and speech patterns need to match their personality and background.

Avoid complete sentences and perfect English in dialogue. Use frequent partial sentences, one- or two-word questions and answers, evasive replies, abrupt changes of topic, and silences. Read your dialogue out loud, perhaps role-playing with someone else, to make sure it sounds natural and authentic.

Also, skip the “Hi, how are you?” and other blah-blah lead-up and filler. Cut to the chase in your

dialogue.

7. Even your narration should not be neutral.

Avoid bland, authorial narration.

Any backstory should be the character’s thoughts, in their words, colored by their feelings about it. And keep it to a minimum, preferably with flashbacks in real time. Even your description, exposition, and narration should not be neutral – these are really the POV character’s observations, and should reveal their personality, goals, attitude and mood.

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Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER, FIRE UP YOUR FICTION, and CAPTIVATE YOUR READERS, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child Workers. You can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Spark up Your Story - Adding Tension, Suspense, & Intrigue – Handout

by Jodie Renner, editor & author

This is the HANDOUT for my 50-minute workshop, "Spark up Your Story - Adding Tension, Suspense, and Intrigue" at When Words Collide conference in Calgary, Aug. 8-10, 2014.

All genres of fiction, not just thrillers, suspense novels, and action-adventures, need tension, suspense, and intrigue to keep readers eagerly turning the pages. And of course, you’ll need to ratchet up the tension and suspense a lot more if you’re writing a fast-paced, nail-biting page-turner. 

A. Some “big-picture” techniques for adding suspense, tension, and intrigue:

~ First, make your readers care about your protagonist by creating a likeable, appealing, strong, smart and resourceful but vulnerable character, with some inner conflict, regrets, and secrets. If readers haven’t bonded with your character, they won’t care what happens to him. 

~ Put your character in motion right away. Start right out in the head and body of your main character, in an active scene with others, with some discord and tension.

~ Get up close and personal. Use deep point of view (first-person or close third person) to get us into the head and body of your main character. This makes readers care about the character and worry about him. A worried reader is an engaged reader.

~ Challenge your protagonist. Now that your readers care about your main character, insert a major threat, challenge, or dilemma within the first chapter or two that won’t be resolved until the end. Create an over-riding sentence about this to keep in mind as you’re writing your story: 

“Will (name) survive/stop/find/overcome (ordeal/person/difficulty/threat) on time?” 

~ Create a cunning antagonist. Your villain needs to be as clever, determined and resourceful as your protagonist – or even more so. Make him or her a serious force to be reckoned with!

~ Create a mood of unease by showing the main character feeling apprehensive about something or someone or by showing some of the bad guy’s thoughts and intentions. For a thriller, establish a sense of urgency, a tense mood, and generally fast pacing.

~ Show, don’t tell. Show all your critical scenes in real time as they’re happening, with action, reaction, and dialogue. Show your main character’s inner feelings and physical and emotional reactions. Don’t have one character tell another about an important event or scene.

~ Use multiple viewpoints, especially that of the villain. For increased anxiety and suspense, get us into the head of your antagonist from time to time. This way the readers find out critical information the heroine doesn’t know, things we want to warn her about!

~ Keep the story momentum moving forward. Don’t get bogged down in backstory or exposition. Keep the action moving ahead, especially in the first chapter. Then work in background details and other info little by little, on an “as-needed” basis only, through dialogue or flashbacks – not as the author telling the readers. 

~ Every scene needs conflict and a change. There should be something unresolved in every scene. Your character enters the scene with an objective or goal (agenda), but she encounters obstacles in the scene, so she is thwarted in her efforts to reach her goal. But circumstances or the character have changed by the end of the scene.

~ Put tension on every page. Every page needs some tension, even if it's just disagreement, resentment, doubt, or questioning simmering below the surface.

~ Vary the tension. But of course, you can’t keep up tension nonstop, as it’s tiring for readers and will eventually numb them. It’s best to intersperse tense, nail-biting scenes with a few less tense ones.

~ Add in tough choices and moral dilemmas. Devise ongoing difficult decisions and inner conflict for your lead character. Besides making your plot more suspenseful, this will also make your protagonist more complex, vulnerable, and intriguing.

~ Withhold information. Don’t tell your readers too much too soon. Dole out critical information little by little, through dialogue, thoughts, and brief flashbacks, to tantalize readers and keep them wondering. 

~ Delay answers to critical plot questions. Look for places in your story where you’ve answered readers’ questions too soon, so have missed a prime spot to increase tension and suspense. Draw out the time before answering that question. In the meantime, hint at it from time to time to remind readers of its importance.

~ Use foreshadowing to incite curiosity. Tease the readers with innuendos. Drop subtle hints of troubles to come. Hint at the main character’s past secrets. What is the character worried about or afraid might happen? Capitalize on this.

~ Add in some revelations and epiphanies to put a twist on things and reward readers for their interest and involvement.

~ Use the setting to establish the mood and create suspense. This is the equivalent of ominous music, harsh lighting, strange camera angles, or nasty weather in a scary movie. 

~ Make use of compelling, vivid sensory imagery to take us right there, with the protagonist, vividly experiencing and reacting to whoever/whatever is challenging or threatening him. 

~ Use brief flashbacks at key moments to reveal your main character’s childhood traumas, unpleasant events, secrets, emotional baggage, hangups, dysfunctional family, etc. 

~ Keep hampering your hero or heroine throughout the novel to increase worry, tension, and suspense. Stir in some of these ingredients: a ticking clock, obstacles, chases, traps, restrictions, handicaps, injuries, bad luck, etc.

~ Keep raising the stakes. Keep asking yourself, “How can I make things worse for the protagonist?” As the challenges get more difficult and the obstacles more insurmountable, readers worry more and suspense grows.

~ Plan a few plot twists. Readers are surprised and delighted when the events take a turn they never expected. Don’t let your readers become complacent, thinking it’s easy to figure out the ending, or they may stop reading.

See Jodie’s book Writing a Killer Thriller for a lot more detail on each of the points mentioned above.

B. Revision stage:

Amp up, condense, or delete any scenes that lag, and tighten up your writing. Now go back and make sure every scene and paragraph drives the story forward. Make every chapter, scene, page, paragraph, sentence, and word count! 


 See Jodie's Fire up Your Fiction for lots of concrete tips with examples for tightening your writing and revising your novel or short story to make it more compelling.

Also, see Jodie's Captivate Your Readers for more great tips!

Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: FIRE UP YOUR FICTION,  CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child Workers. You can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Engage Your Readers with Deep Point of View

by Jodie Renner, editor & author   

This is the HANDOUT from Jodie's workshop on deep point of view at When Words Collide literary festival, Calgary, Aug. 8-10, 2014.

(POV = point of view = viewpoint – Who’s telling the story? or Whose head are we in for that scene?)

Some quick tips for avoiding POV gaffes in your fiction:

(The actual presentation of course had/has an introduction to point of view and deep POV or close third-person viewpoint, with lots of details and examples.)

~ First, decide whose scene it is. Who has the most at stake? (If in doubt, show it from the POV of your protagonist.)

~ Now, get into that character’s head and body and stay there for the whole scene or chapter. Don’t flit around to the thoughts of other characters or show anything that’s going on outside of your POV character’s range or perceptions.

~ Don’t show or describe things going on behind the character’s back, in another room, or anywhere out of their sight or hearing range. Only show us what the character can logically perceive at that time.

~ To describe the setting, use the perceptions, words, goal, attitude, and mood of the POV character for that scene. Don’t describe a scene as a neutral observer or as the author talking to the readers.

~ Color your descriptions of other characters with the attitude and feelings of your POV character toward them. Avoid neutral descriptions.

~ Don’t describe other characters in a way that the POV character wouldn’t. For example, don’t give a detailed description from head to toe of a character the POV character is looking at and already knows very well, like a family member.

~ Don’t get into the inner thoughts or feelings of any other characters in that scene. Show their thoughts, emotions, attitudes and intentions by their facial expressions, body language, tone of voice, words, and actions – anything the POV character can perceive.

~ When starting a new scene or chapter, use the name of the viewpoint character right away, in the first sentence, to establish immediately for the reader whose head we’re in now. 

~ After introducing the POV character, refer to him or her in an informal way, as they would think of themselves.

~ Use the POV character’s name at the beginning of scenes (full name for first mention), then use mainly “he” or “she” except when their name is needed for clarity. (The “he” or “she” is like “I”.)

~ Refer to other characters by the name the POV character normally uses for them. 

~ Avoid lengthy "info dumps." Don’t butt in as the author to explain things to the readers, outside of the character’s viewpoint. Instead, reveal the info from the character’s POV or as a question-and-answer dialogue, with some attitude and tension to spice things up. 

~ Don’t show the POV character’s facial expression or body language (unless they’re looking in a mirror). They don’t know what’s going on with their face. Or indicate it somehow through their thoughts or fears. For example, you could say “She felt her face flush” to indicate that she’s blushing.

~ Show the POV character’s inner thoughts, emotions, and reactions constantly to increase reader engagement.

~ Sprinkle in direct thought-reactions in italics, to reveal the character’s true feelings and increase intimacy with the readers.

What a great audience!

~ Show the POV character’s sensory reactions to their environment, other characters, and what’s happening. Use as many of the five senses as is appropriate to get us into the skin of the character. 

~ Keep the narration in the POV character’s voice. Not only should the dialogue be in the character’s voice and style, but the narration should too, as that’s really the character’s thoughts and observations.

~ Avoid lengthy backstory dumps, the author telling the readers about the character and their background. Introduce only the essential info, through the characters. Or use brief flashbacks, in scenes in real time, with action and dialogue.

~ Don’t have characters magically knowing the names of other characters they’ve never met or heard of, just because we, as the readers, have met those other characters. This is an easy gaffe to make inadvertently.

Copyright © Jodie Renner, 2014   

For more tips on using deep point of view to engage your readers and bring your characters and story
to life, see Jodie’s writers’ guides in the series, An Editor’s Guide to Writing Compelling Fiction, including her latest, CAPTIVATE YOUR READERS.

Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: FIRE UP YOUR FICTION,  CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER, as well as two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has also organized two anthologies for charity: VOICES FROM THE VALLEYS – Stories and Poems about Life in BC’s Interior, and CHILDHOOD REGAINED – Stories of Hope for Asian Child Workers. You can find Jodie on her Amazon Author Page, at www.JodieRenner.com, and on Facebook. 

Two of my articles in Suspense Magazine

Available on Amazon in e-book or print

by Jodie Renner, editor, author, speaker

I'm pleased to share that Suspense Magazine has published two of my articles to date on various techniques for increasing the tension, suspense, and intrigue in your novel.

Here is the first third of an article of mine published in the August 2013 issue:

Adding Suspense, Tension and Intrigue to Your Story

by Jodie Renner

All genres of fiction, not just thrillers and action-adventures, need tension, suspense, and intrigue to keep readers eagerly turning the pages. And of course, you’ll need to ratchet up the tension and suspense a lot more if you’re writing a fast-paced, nail-biting page-turner.

Some “Big-Picture” Techniques for Adding Suspense:

~ First, make your readers care about your protagonist by creating a likeable, appealing, strong, smart and resourceful but vulnerable character, with some inner conflict. If readers haven’t bonded with your main character, they won’t care what happens to him or her.

~ Create a cunning, frightening villain. Your villain needs to be as clever, determined and resourceful as your protagonist – or even more so. Make him a serious force to be reckoned with!

~ Threaten your protagonist. Now that your readers care about your main character, insert a major threat or dilemma within the first chapter that won’t be resolved until the end. Create an over-riding sentence about this to keep in mind as you’re writing your story: Will (name) survive/stop/find/overcome (difficulty/threat)?

~ Establish a sense of urgency, a tense mood, and generally fast pacing. Unlike cozy mysteries and other more leisurely genres, thrillers and other suspense fiction generally need a tense mood and fast pacing throughout most of the novel, with short “breathers” in between the tensest scenes.

~ Show, don’t tell. Show all your critical scenes in real time, with action, reaction, and dialogue. Show your character’s inner feelings and physical and emotional reactions. Don’t have one character tell another about an important event or scene.

~ Use multiple viewpoints, especially that of the villain. For increased anxiety and suspense, get us into the head of your antagonist from time to time. This way the readers find out critical information the heroine doesn’t know, things we want to warn her about!

~ Keep the story momentum moving forward. Don’t get bogged down in backstory or exposition. Keep the action moving ahead, especially in the first chapter. Then work in background details and other info little by little, on an “as-needed” basis only, through dialogue or flashbacks.

~ Create a mood of unease by showing the main character feeling apprehensive about something or someone or by showing some of the bad guy’s thoughts and intentions.

~ Add in tough choices and moral dilemmas. Devise ongoing difficult decisions and inner conflict for your lead character. Besides making your plot more suspenseful, this will also make your protagonist more complex, vulnerable, and interesting.

... for the rest of this article, go to www.SuspenseMagazine.com and purchase the August 2013 issue, which is full of excellent articles, many by bestselling authors! They also have some free issues available.

 

 

 

 

And here's about 1/3 to 1/2 of the second article of mine, published in the Sept./Oct. 2013 issue of Suspense Magazine. This one's on foreshadowing to create intrigue.

 

Amp up the Tension, Suspense, and Intrigue with Foreshadowing

by Jodie Renner

As you’re writing your thriller or other suspense novel, you want to be constantly thinking of ways to provoke reader curiosity and apprehension, so they keep anxiously turning the pages.

Foreshadowing is an excellent technique for adding suspense, especially for the first half of your novel, but it’s one that requires some planning (or backtracking later) and a bit of expertise to really be effective.

What is foreshadowing?

Foreshadowing is about dropping little clues about possible secrets, revelations, complications, and trouble to come. To pique the reader’s interest and keep her reading, hint at dangers lurking ahead. Foreshadowing incites curiosity, anticipation, and worry in the readers, and also prepares them somewhat for the possibility of later occurrences, so lends some credibility when the hinted-at event does occur.

For example, in the opening of The Wizard of Oz, when Dorothy’s still in Kansas, the transformation of Miss Gulch into a witch on a broomstick foreshadows her reappearance as Dorothy’s enemy in Oz.

Weave little hints in as you go along, but be subtle about it, and don’t give away the ending. If you make it obvious, it takes away the suspense and intrigue, along with the reader’s pleasure at trying to figure everything out.

Why is foreshadowing important?

Foreshadowing is a way of alerting readers to the possibility of upcoming critical events, of telling them to keep reading because some exciting developments are ahead.

Foreshadowing creates suspense. According to the dictionary, suspense is “a quality in a work of fiction that arouses excited expectation about what may happen.”

If you don’t foreshadow events and developments to come, readers will have no expectations, so no anticipation or worry. Foreshadowing stimulates curiosity and provides intrigue, increasing tension and suspense.

Also, if events and changes are foreshadowed, when they do occur, they seem more credible, not just a random act or something you suddenly decided to stick in there, especially if they’re unexpected. ...

...

How to use foreshadowing:

Use foreshadowing to lay the groundwork for future tension, to tantalize readers about upcoming critical scenes, confrontations or developments, major changes or reversals, character transformations, or secrets to be revealed.

Foreshadowing to add worry and increase reader engagement

...

Some ideas for foreshadowing:

Here are some of the ways you can foreshadow events or revelations in your story:

– Show a pre-scene or mini-example of what happens in a big way later. The roads are icy and the car starts to skid but the driver manages to get it under control and continues driving, a little shaken and nervous. This initial near-miss plants worry in the reader’s mind. Then later a truck comes barreling toward him and... (or the icy road causes some other kind of accident).

– The protagonist overhears snippets of conversation or gossip and tries to piece it all together, but it doesn’t all make sense until later.

– Hint at shameful secrets or bad memories your protagonist has been hiding, trying to forget about.

For the rest of this article and many more top-notch articles, go to www.SuspenseMagazine.com and subscribe to the Sept./Oct. 2013 issue.

For more tips on amping up the tension, suspense, and intrigue in your novel, see Jodie's book, Writing a Killer Thriller - An Editor's Guide to Writing Compelling Fiction.

Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER (Silver Medalist in the FAPA Book Awards, 2013). Both titles are available in e-book and paperback.

For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.

 

Ten Story Gaffes to Avoid

by Jodie Renner, editor, author, speaker

 

Here's an article of mine that appeared on The Bookshelf Muse blog this week and has received a lot of comments over there.

10 Things You Don't Want In Your Novel

   

Crafting a story is a bit like juggling--so many elements must come into play at the right moment to put on an amazing show. There's the strong, compelling hero, damaged in some way that the reader identifies with, up against impossible odds. There's a vivid setting brimming with symbols and foreshadowing. And we can't forget witty dialogue, great pacing, conflict, tension, sensory description and a one-of-a-kind voice.  So while we're keeping all these things in the front of our brain as we write, what are the biggest mistakes we want to avoid? Editor Jodie Renner is here to answer that question!  

10 NO-NO’S FOR A COMPELLING STORY

Today’s fiction readers are more discerning and busier than ever. They want to be swept away by a captivating story with a charismatic main character. They don’t want to be talked at. Don’t wrench them out of the fictive dream by addressing them as the author to explain things or otherwise taking them out of the character’s immediate world.

Avoid these storytelling gaffes in your novel or short story: 

1. Too much description 

 Avoid writing paragraphs of description of the scenery, weather, and other surroundings. Write only the most compelling details, and from the main character’s point of view – how is the weather affecting her? Are details in his physical environment hindering his goals? And don’t get into too much detailed information on exactly what each character looks like and everything they’re wearing, especially for minor characters. Paint in large brushstrokes, mentioning only the most salient details, those that contribute to characterization.

2. An unlikeable protagonist 

Make sure your main character is someone readers will want to bond with, root for, and follow for the whole story. Don’t make him or her cold, arrogant, difficult, demanding, unfeeling, insensitive, dismissive, timid, whiny, or wimpy. Go for sympathetic and likeable, but vulnerable, with inner conflict and some baggage.

 3. A cardboard lead 

Make sure your hero or heroine is multidimensional, with lots of personality and attitude, and plenty of drive and charisma. They need strengths but also inner conflict and secrets. Nobody wants to follow a bland, wishy-washy, overly ordinary lead character.

4. La-la land – Characters getting along too well 
 

For the rest of this blog post, CLICK HERE.

Jodie Renner has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: Writing a Killer Thriller and Fire up Your Fiction (Style That Sizzles & Pacing for Power), which has won two book awards so far. Look for her third book, Immerse the Readers in Your Story World, out soon. For more info, please visit Jodie’s author website or editor website, her blogs, Resources for Writers and The Kill Zone, or find her on Facebook, Twitter, and Google+. And sign up for her newsletter.

Write a Killer Thriller Opening

by Jodie Renner, editor, author, speaker

 

Here's the beginning of a blog post of mine that's up today on D.P. Lyle's blog, The Writer's Forensics Blog. For the rest of the article, click on the link below.

Write a Killer Thriller Opening

 

Your thriller is coming along really well. You’ve written a first draft or are well into it, and you’re starting to think of actually letting others read it. Way to go! Now it’s time to go back and revise your opening pages to make them as riveting and intriguing as they can be.

I can’t emphasize enough how critical your first pages are. They can literally make or break your sales for that book – and maybe future ones. Why? Because after glancing at the front and back cover, potential readers, agents, publishers, and buyers will read your opening page or two to decide whether or not to buy your book. Readers are less and less patient, and with all the excellent books out there, if they’re not intrigued by the first few pages, they’ll reject yours and go on to another.

As James N. Frey says, “A gripping opening is not simply a good thing for your story. It’s absolutely essential.”

So what are the essential ingredients of a gripping opening?
Your first page – in fact, your first paragraph – needs to immerse your readers in the story right away, engage them emotionally, and hook them in so they not only want to but need to continue.
For that to happen, several factors come into play.

~ Tell us whose story it is. First, readers want to know right away who’s the protagonist, the one they’ll be rooting for. Put is in the head of the main character in the first sentence, certainly the first paragraphs. Readers expect that the first person they meet is the one they’ll identify with and bond with, so start right out in the point of view of your lead character.

~ Situate us right away. And readers want to know immediately where and when that first scene is taking place, and what’s going on. So be sure you’ve answered the four W’s within the first few paragraphs: who, what, where, and when – and in an engaging way. Don’t confuse or annoy your readers right off the bat by making them wonder who’s the main person in the story, what’s going on at that moment, and where and when it’s happening.

~ But not in a happy scene. Introduce some tension and conflict right away. Your lead character wants or needs something and it’s not happening. She’s starting to get stressed because…

For the rest of the article, click on this link:

http://writersforensicsblog.wordpress.com/2013/06/21/guest-blogger-jodie-renner-write-a-killer-thriller-opening/


Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER (Silver Medalist in the FAPA Book Awards, 2013). Both titles are available in e-book and paperback.

For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.

To subscribe to Jodie’s Resources for Writers newsletter (published about 4-10 times a year), please click on this link and fill out the form. Your privacy is completely assured, you won’t receive any spam, ever, and you can unsubscribe at any time.  http://eepurl.com/C9dKD

 

WRITING A KILLER THRILLER on sale & in paperback

The updated and expanded second edition of my e-book, Writing a Killer Thriller - An Editor's Guide to Writing Compelling Fiction, is on sale for only one more day at $1.99, so grab it while it's still at half price! And it's now available in trade paperback, on sale for $8.54.

Here's the beginning of a new article of mine that's up on Crime Fiction Collective blog today:

Big-Picture Problems to Look for in Your Novel

New edition e-book, and in print today.

by Jodie Renner, editor & author

Has anyone told you your almost-done story is too long, confusing, or just doesn't grab them? Here are some typical “big-picture” weaknesses to watch out for in your novel and correct before publishing it or pitching it to an agent. These types of glaring gaffes in writing, pacing, plot, or structure will bog down your story and could sink your reputation as a novelist. Fortunately, they can all be remedied at the revision and self-editing stages.

~ Overwriting. Not enough self-editing.
Today’s bestselling thrillers are mostly between 70,000 and 90,000 words long. Unless you’re an absolutely brilliant writer, and experts in the business have told you so, if your manuscript is over 95,000 words long, it definitely needs tightening up.

~ Meandering writing – the main story question / problem is fuzzy or buried.
What’s the protagonist’s main goal and fear, and his main problem? This should be obvious early on and be the overriding driving force behind your whole story. Don’t let it get lost in meandering writing, too much backstory, frequent info dumps, too many characters, too many subplots, and unrelated plot details.

~ One unrelated thing after another happens.
Don’t get caught up in “and then, and then, and then,” with a bunch of sub-stories or episodes that aren’t related to each other and don’t directly tie in with the main plot problem and story question. Your events and scenes need to be connected by cause and effect. Each scene should impact the following scenes and complicate future events.

~ Dog’s breakfast
A common problem is too many characters crowding the scenes with no elbow room, and readers getting confused and frustrated trying to remember who’s who. Or maybe you have too many subplots that veer off in different directions and confuse the issue. Or a convoluted story where many issues or subplots don’t tie in with the main character and their overarching problem. ....

 

For the rest of this article, click HERE. 

WRITING A KILLER THRILLER, 2nd Edition, now out

by Jodie Renner, editor, author, speaker

I'm pleased to announce that my revised and expanded 2nd edition of Writing a Killer Thriller - An Editor's Guide to Writing Compelling Fiction is now available on Kindle and in trade paperback for $8.54.

This new edition, which is four times as long as the original, popular e-booklet, with lots more great tips on increasing the tension, suspense, and intrigue of your fiction, is on sale for $1.99 until Tues. a.m., June 18 only, as a special deal for people who bought the first edition. Then this new one will go up to $3.95, then to $4.95. So get it while it's half price! (It won't be offered it for free.)

Also, I'll send a free PDF of the new edition to anyone who wrote a positive review for the first edition.

Please send any feedback to me via my website: Info@JodieRenner.com.

Here are some advance reviews of this expanded second edition:

“Finally, someone who understands the thriller! More than ever an author must also be his own best editor and Jodie Renner is there to help. Writing a Killer Thriller should be on every thriller writer’s desk. It breaks down the thriller into its must-have component parts to write a scintillating, edge of the seat novel that will get readers buzzing and sales flowing.”

~ Robert Dugoni, New York Times bestselling author of The Jury Master and Murder One


“Writing a Killer Thriller by Jodie Renner is an in-depth journey through each component of the thriller. Renner breaks down the process into key elements, each essential to keeping the reader turning those pages. From character development to building suspense, Writing a Killer Thriller should be on the desk of every thriller author out there. A staple for the beginner, a refresher for the pro.” 

~ Joe Moore, #1 Amazon and international bestselling co-author of The Blade and The Phoenix Apostles


“Writing is hard, editing harder, and self-editing almost impossible. Writing a Killer Thriller demystifies each of these steps on the road to a published manuscript. Read this book. It will help you now and for many years to come.”

~ DP Lyle, Macavity Award winning and Edgar, Agatha, Anthony, Benjamin Franklin, Scribe, and USA Best Books nominated author of the Dub Walker thriller series


“A killer of a thriller guide! Jodie Renner lays out, in clear, easy steps and lists, how the best writers craft their works of art – and shows how you can do it, too. A terrific how-to in avoiding the pitfalls and burnishing the gotta-haves of writing a bestselling thriller novel, by an editor who knows her way around action, drama and creating characters so fresh and real you’ll swear they were your friends.”

~ Shane Gericke, national bestselling and No. 1 Kindle bestselling author of Torn Apart
“Jodie Renner is a terrific fiction editor who is constantly updating her craft. She’s edited several novels for me, and I highly recommend her services and books. Even if you don’t write thrillers, her advice is applicable to writing a compelling story in almost any genre.”

~ L.J. Sellers, bestselling author of provocative mysteries and thrillers


“In Writing a Killer Thriller, Jodie Renner propels your writing to the competitive level that’s critical to delivering a thriller ace. She outlines easy-to-apply techniques on how to ‘hook ’em’ from the beginning, pump tension into every scene, fix those plot holes, and create compelling characters that will drive readers to keep reading until the very last page. ...From drafting your novel utilizing the basic elements of a thriller to creating your riveting final revision that packs a high-intrigue punch, Jodie shows you how to deliver a break out thriller—again and again.” 

~ Donna Galanti, 2012 International Thriller Writers Debut Author of the paranormal suspense novel A Human Element and the short story collection The Dark Inside.

Jodie Renner is a freelance fiction editor who specializes in thrillers, mysteries, and other fast-paced fiction. For more info on Jodie’s editing services and her books, please visit her website. Jodie has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: Writing and Killer Thriller and Style That Sizzles & Pacing for Power, which is available in paperback, as an e-book on Kindle, and in other e-book formats. And you don’t need to own an e-reader to purchase and enjoy e-books. You can download them to your computer, tablet, or smartphone.

Those Critical First Five Pages

by Jodie Renner, editor, author, speaker

 

 

Congratulations! You’ve finished the first draft of your novel! Now it’s time to go back and polish up your first few pages. Then later you can do a third—or tenth—rewrite of that all-important first few paragraphs to create the most enticing hook possible. For today, we’ll talk about the essential ingredients of the first five pages (or the first page or two of a short story), as most agents and acquiring editors—and readers—will stop reading by the fifth page, or sooner, if the story and characters don’t grab them by then. 

In February 2011, I attended a workshop by literary agent Kristin Nelson at the San Miguel Writers’ Conference, in which she had attendees anonymously submit the first two pages of their novel. She started reading the submissions and stopped at the spot where she lost interest. In many instances it was after the first or second paragraph! Sometimes she made it almost to the end of the first page, and in one case, even halfway through the second page. Then she told us why that manuscript, as written, would be rejected. (Not a single one of those made it.)  

In a follow-up article in Writer’s Digest (Oct. 2011), Kristen gives four examples of submissions and where and why she stopped reading three of them (all on the first page): “too much dialogue,” “overuse of description,” and “lack of tension.” In her workshop, “lack of clear protagonist,” “unsympathetic protagonist,” “boring” and “confusing” were other reasons given.  

After Ms. Nelson's workshop, I heard a lot of “If she’d only read a little further, she would have seen that…” or “That wasn’t fair. She didn’t give me a chance. How can she judge a manuscript by only reading one page?” Unfortunately, agents get tens of thousands of submissions a year, and if you don’t grab them within the first page or two, the sad reality is that your book will probably be rejected. And of course, as readers, most of us will read the back cover and maybe the first page, then decide based on that whether to buy the book or not. And even when I’ve paid money for a book, if it doesn’t grab me by about page ten, I’ll discard it. 

One of the main reasons agents, acquiring editors and readers will reject a book after reading the first few pages is that they’re confused. They need to get a picture right away about whose story it is, why we should care about that person, and roughly where and when the story is taking place. Once readers have a handle on the main character and the setting, they can relax and settle into the story world. Of course, you also have to spark their interest with a problem early on—put your protagonist in some hot water with an inciting incident, so the reader can sympathize with them and start rooting for them. 

Whose story is it? 

It’s important to start out the novel in the viewpoint of your protagonist, as the first person the readers read about is the person they start identifying with, and they’ll feel cheated if suddenly, after they’ve invested some time and effort into getting to know this person and bonding a bit with him, he suddenly turns out to be not someone they should be rooting for at all, but in fact the antagonist, whom they’re supposed to be hating, or worse yet, a minor character or someone who gets killed off a little while later. 

As Steve Berry, bestselling author and sought-after writing workshop leader, told a packed room of eager aspiring writers at Craftfest, part of Thrillerfest 2011 in New York, “Always start your book in the point of view of your protagonist.” I think this is excellent advice, as the readers—not to mention agents and acquiring editors—want to know right away whose story it is, who to start bonding with and cheering for. 

Here are the first questions your readers will be asking: 

Why should I care about this character, anyway?

Readers aren’t going to invest time reading a story about a character they don’t like or can’t identify with, so make sure your protagonist is likeable and sympathetic, to draw the readers in to identify with him or her. And make them well-rounded and complex, with hopes and fears, strengths and weaknesses, and inner conflict. And of course have them confronted with a problem—an inciting incident—within the first few pages, as conflict is what drives fiction forward. A perfect character with an ideal life is both annoying and boring—not a formula for compelling fiction! 

Where and when is the action taking place?

Without drowning us in long descriptive passages right at the beginning, give the readers a few hints very early on—definitely on the first page—of the setting of your story: Contemporary? Past? Future? Country/Culture? Urban/rural/wilderness? Which city or town? And so on. Don’t confuse and frustrate your readers by making them wonder where on earth all this is happening, and whether it’s in the present or some other time. 

Why should I read this story?

Show your stuff in your first five pages or so. Draw the reader (or agent or editor) in with a great first scene, well-written, with interesting, complex characters, some intriguing action, and compelling, natural-sounding dialogue. Include your inciting incident and initial conflict, and hint at greater problems to come. Introduce or hint at a worthy adversary—a cunning villain or attractive but maddening/annoying possible love interest. And write your first pages in the same tone, style and voice you’ll be using for your novel, so the readers will have a good idea of what they’ll be getting into. And of course, continue in this same tone (suspenseful, humorous, serious, romantic, etc.) for the rest of the novel, so the reader won’t feel cheated or misled. 

But don’t get bogged down trying to perfect your opening pages in the early stages – wait until you’ve got all or most of your first draft written. By then, you’ll be “in the groove” and you’ll know your character and his/her problems a lot better, as well as the resolution, so this part will flow so much more easily.

Jodie Renner has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: Writing a Killer Thriller and Fire up Your Fiction (Style That Sizzles & Pacing for Power), which has won two book awards so far. Look for her third book in the series, out soon. For more info, please visit Jodie’s author website or editor website, her blogs, The Kill Zone, Resources for Writers, and Crime Fiction Collective, or find her on Facebook, Twitter, and Google+. And sign up for her newsletter.