FAQs

Here's how I write a synopsis. I format it like a regular manuscript with headings and double spacing, but no cover page. I begin with the novel title, author, Bible verse that guides the story if it's an inspirational, and I write a short blurb that summarizes the story and includes a hook, the type you find on the back of a book cover. For example after a brief two or three lines of summary, end with: Will H and H face their flaws and find true love? Try to capture the tone of your story in the blurb (mystery, comedy, etc)

Next I write a one paragraph character sketch on the heroine and one on the hero. In this I give age and background - or backstory. This information sets up the situations in their lives that motivates them, that forms their characters, and that defines their goals. This background is the basis on which most of the conflicts will be created.

The final step is the story. Don't try to cover ever story event or scene. Only show the opening scene—how they meet—then how their relationship progresses by providing plot points that demonstrate conflicts, motivation, and how they change and grow. Make sure you also show the romance as you go, beginning as curiosity, interest, attraction, and then falling in love. Leave out as many secondary characters as possible - include only those that are necessary for telling the main plot and avoid calling them by name if possible. For example: the hero's mother, her sister, the neighbor, etc. That way your synopsis focuses on the two main characters. Avoid including sub-plots unless they are vital to the hero and heroine's story.

Finally make sure you tie all loose ends together. Don't leave the editor dangling with a mystery or leave them wondering how the story is resolved. Cover all the important bases to show that you can bring the story to a satisfying conclusion.

Once the synopsis is written, go through it again and ask yourself if this fact, sentence, or phrase is important. Things like - the next morning, two days later, wearing a dark suit, etc. are not important to a synopsis. Details are not important. What the editor is looking for is GMC—goals, motivation, and conflict - then the resolution.

Here is a sample synopsis from my novel SECRETS OF THE HEART.

2. What are the most serious errors made by a beginning writer?

Two major areas come to mind—pacing and passive writing. Pacing refers to starting the story at the point of change. New writers tend to weigh the opening chapters down with backstory. A page-turning novel begins with action at the spot where something happens that will change the life of the main character. The next part of pacing is making sure that every scene and every piece of dialogue moves the plot forward by providing new information, new insight to characterization, or strengthens or adds conflict.

Passive writing destroys action and imagery necessary for a good story. Writers should strive for active writing—to show not tell, to select the most appropriate verb so that adverbs can be removed, and to enhance visual descriptions. Instead of walked slowly use crept, inched, ambled, meandered—verbs that capture the mood of the story and create a vivid picture of the action. Remove deadwood phrases from the story like: there were, there was, it was and replace the "to be" verb - was - with active verbs. For example: She was beautiful. Her face glowed like sunshine, radiating inner beauty. See how much more interesting and visual that is than using "was."

3. I'm submitting a proposal to a publisher. Will a publisher buy on proposal or is it necessary to complete my novel?

My experience with Steeple Hill, Harlequin/Silhouette and Barbour Publishing shows that a completed manuscript is needed for a first novel with that publishing house whether the author is published or not published. After the first novel is contracted, most authors will then sell on proposal—a detailed synopsis and three chapters. This holds true for most authors except those well-known writers who appear on the NY Times best-seller list.

4. I'm an unpublished writer and would like to know if you could critique one of my chapters?

My personal writing schedule keeps me from critiquing work for most writers—published or unpublished. I love to help new authors though, so I continue to write "how-to" and writing tips articles for newsletters, magazines, and on-line writing sites, and include many of these articles on my web site as well as writer workshop logs which deal with a variety of topics. When I am asked, I teach at conferences and critique on those occasions. Every author can benefit from critique partners or critique groups, and the easiest way to find them is by joining local or on-line writing organization. Most of these organizations have critiquing activities.

5. Please explain publishers methods of calculating word count.

A few publishers use actual word count calculated by the word processing program, such as Barbour Publishing. Most houses calculate word count by approximating a 250 word page. This means the author will format the page with 25 lines and approximately 10 words per line using a 12 point font with either Courier New or Times New Roman font. How to format the 250 word page depends on what software, you use. In WordPerfect using Courier New, I set my margins at top: .5, bottom 1.0, and right and left margins at 1.37. Using a header and two lines before beginning my first line of text usually gives me 25 lines. Asking someone who uses your same software is helpful.

6. What is the difference between a query and a proposal?

A query is a letter that introduces yourself to the editor, provides information about your writing history and published works, gives a brief synopsis of your story: emphasizing the lesson, motivation and major conflicts. It will also include a statement why you think the novel fits the editor’s line, and a statement whether or not the manuscript is complete

A proposal is a cover letter including a one sentence story summary, your writing background and published work, why you think this editor would be interested in your story, and a statement whether or not the manuscript is complete and a date when you expect it to be complete. You will include a complete 5 - 10 page synopsis of the story stressing the main characters’ goals, motivation and conflict. Avoid detailed information about secondary characters and do not use dialogue in your synopsis. Cut out all unnecessary words and information not needed by the editor to understand the story. Include three chapters. I use the first three.

7. What can an author do to help promote a book?

Though many publishing houses promote their books through mailings to readers, magazines ads, and large book signings at places like the CBA conventions, authors can never go wrong in promoting their own work. I use a variety of techniques to promote my writing and my books. Though sometimes the cost doesn’t seem worth it, each reader who loves your writing becomes a promotional person for your work. They loan your book to someone and the next time that person buys your book and tells a friend. Promotion grows and reproduces like mushrooms.

First I have a web site with a domain name. Browsers pick up a name more readily if it is a domain. On this site, I have information for both readers and writers. I try to keep it current with my back list, current releases and upcoming books by providing covers, chapter one excerpts, and reviews. I even include little pieces of interesting information about my stories on my News and Tidbits page.

Second, I mail out a newsletter at least once a year as well as postcards of upcoming releases and book signings to my readers. I have a large list of readers. Making friends with booksellers, librarians, and those who support your books is a must. Send them promotional copies of your novels and ask to make appearances or do book signings. After while, they will contact you to do signings. When at a signing, have a clipboard or notebook to add names of readers who’d like to be included on your mailing list.

Third, I do workshops, both in person and online, as often as I have time or I am invited. This allows readers to know about you and your books. I speak at women’s groups, churches, schools, and libraries whenever I have the opportunity. I agree to be spotlighted on web sites and answer the many questions for the interviews. It takes time but is worth the free promotion.

Fourth, I contact local radio/television stations and newspaper when something special has happened in my life–my first book or winning a contest. I have reaped many long front page articles in many newspapers in the Detroit area. They will often promote your book signings.

Fifth, I belong to many writers groups. Some of them aid promoting authors books by doing a newsletter or a large promotional mailing. Two of my Michigan RWA chapters do poster type mailings to over 1000 booksellers in various areas of Michigan and across the country. I participate at a fee, but find it well worth it.

Sixth, I create brochures and bookmarks to hand out whenever I booksign, speak, or appear for any occasion. I give copies to booksellers as well.

Seventh, I send my books out for review to online and printed book review magazines and newspapers. I enter published authors contests so that I can include that in my promotional material and in resumes.

Eighth, I donate books to charity events. Every new reader is one step forward. When a person finds books they love, they tell their friends. Self-promotion is important.

8. Do you use a characterization interview or sheet to develop characters?

I do characterization first by creating backstory. I ask myself what type of roots, heritage, childhood, family, city, experiences, faith, and dysfunctions did each major character experience. As we know, each of us are influenced and molded by our past. This information about my hero and heroine helps me to develop my character’s goals, motivation, and the resulting conflicts. When I’ve made these decisions, I use a character work sheet to record other questions I have such as worst fear, dark secret, greatest need, etc. On the back of the sheet I sketch out my backstory. The sheet also has spots to help keep other facts straight - appearance, type of car, idiosyncrasies, etc. This works well for me. It’s simple but effective. Check out the character work sheet that I use.

9. I know you’ve done many book signings and I want to know how do you go about arranging them?

When I first started signing books, I called local bookstores and asked to speak to the person who coordinates events in the store. I told them I was an author in the area with a new book coming out and would like to sign at the store. I offer to send a book and a press kit. Most book sellers enjoy having authors in the store so they would usually set up a date right then.

Once you have a successful signing—that is, you sell a few books—the bookseller will ask you to come back. Sometimes she will set up a date right then or ask you to call when your next book is available. I also leave promotional material with the booksellers so they can make a note of when my books come out.

Occasionally you will find a store that has a central coordinator who sets up for all stores in the area. This is less effective since they do not have as much excitement about their own store and your visit.

When I do a book signing, I usually have candy, cookies or something to draw attention to me at the table. Some stores put up helium balloons by the authors' table - but you could always bring one yourself. I also give handouts to people who pass by—a wallet calendar with my web site and name, a brochure of my upcoming books and backlist, etc.

Don’t expect miracles from book signings. It is very taxing since authors must smile, introduce themselves and often talk to people who don’t want to stop and talk to them. I’ve watched authors sell only 1 or 2 books in 2 hours. I’ve always sold at least 5 books and many times more than 20. It depends on the promotion the bookseller does and the promotion you do—like sending out postcards to readers, friends and family in the local area.

If you know an author in the area who also has a book out, see if he or she might be interested in joining you and offer the person’s name to the book seller to make contact. I prefer to sign with at least one other author. It doesn’t always happen.

10. What is a press kit?

A press kit is a promotional device sent to newspapers, magazines, libraries, booksellers, and anyone you’d like to introduce yourself to as an author. I use a pocket folder and label the outside. Press Kit - Award-winning author, Gail Gaymer Martin. You could say what suits you.

Inside I include a short biography, my book list and upcoming novels, a list of awards and honors, a list of speaking engagements and appearances, copies of magazine and newspaper articles that have featured me, book reviews, promotional materials like bookmarks, brochures, and postcards. I also include a cover letter to pitch my purpose in sending them the press kit. I might be looking for an article in the local newspaper, a spot on a television or radio show, a book signing or a speaking engagement so each press kit is geared to that purpose. Don’t forget to pitch you’re a local author and give them a phone number and E-mail address so they can contact you!

11. How do I find an agent?

The CBA publishing houses did not always require agents for book submissions, but recently that has changed. Only a few houses will look at an author’s book without representation. Queries however are usually accepted. Representation means an agent.

Looking for an agent is as exhausting as selling a book, but once you have representation, getting doors to open is easier. It is not uncommon to find an agent after an author has sold a first or second book. An agent will want to see a complete manuscript for a new writer.

Because an agent is someone who must be enthusiastic about you and your work, a writer should take time to find the one that fits them best. Meeting an agent at a conference is the best way, having lunch (if possible) or speaking over the telephone is the next best. Make sure the agent is credible, a member of Association of Authors Representatives (AAR), and willing to meet your needs. An agent will not charge any fees. Instead, they receive a percentage of your book payout, usually 10 - 15%.

Many agents are willing to handle only part of your submissions. For example, you might write short stories, church plays, novellas, and long fiction. Part of your contract with an agent will be to handle only your long fiction. Most agent do not critique or line edit your work, although they may make suggestions as to what will work and what won’t and ask for early revisions. What they do is sell books, negotiate contracts, and support the writer.

12. What makes a good book signing?

Book signings can be a blessing to the extrovert and a horrible experience to those who are shy and uncomfortable in promotional situations. Personally, book signings have been a pleasure for me. I meet readers, add names and addresses to my reader list, have an opportunity to share my faith with others, and at the same time, sell books.

What makes a successful book signing? (1) I send out my signing dates in my newsletter and sometimes send reminder postcards to local readers, (2) I have giveaways like a ballpoint pens, bookmarks, candy, and other promotional material, (3) I make brochures of my upcoming books and my speaking topics to share with passersby, (4) I have a pen and small clip board for readers to add their names and addresses, (5) I don’t sit, but stand and speak to people as they pass by offering them candy, a bookmark, and/or asking them what they liked to read. Most people are friendly and will chat, (6) I show enthusiasm for my stories, sometimes giving them a brief synopsis and telling them the setting, especially if it’s local, and (7) Very important, I send a press kit to the bookseller for each signing and a copy of my novel if time permits.

What can the seller do to encourage a successful book signing? (1) Publicizing the event through posters, newsletters, and word of mouth, (2) Reading the authors books and giving personal recommendations to the readers. (I’ve sold many books this way), (3) Providing incentive to the buyer by having refreshments, promotional items, and creating a festive atmosphere, (4) Placing the author in a strategic location for the greatest amount of traffic, and (5) Showing enthusiasm for the signing.

I find my signings are most successful when the seller loves romance and especially my work. Because I’ve sold many books for many stores, I have been asked back rather than have to chase down signing dates. I love meeting people and talking about books. I think this is a key. I’ve talked to a number of well-known authors and most of them believe signings are the key to their success and a thank you to their faithful readers.

13. As a beginning writer, I’m struggling with the opening chapter of a novel. Can you give any tips to make the opening easier?

Opening chapters begin at the point of change—when something happens that makes the characters life different from that point on. An opening begins with action—either dialogue or active situation. The opening chapter has basically two purposes: to introduce the main characters and to hook the reader with the beginning conflict. The goal is to leave the reader with the question, what is going to happen now?

Rather than handing the reader pages of backstory, dole the information out "as needed" to make sense. Give the reader credit. Let him wait a little, and instead, give him clues or partial pieces of information that shows motivation for the characters goals. Later through dialogue or introspection give more backstory that helps explain motivation more fully. For example, the hero’s introspection might be: "If she knew the truth, she would send me packing." The reader wants to know what the truth is and what could be so bad that the heroine would send him packing? Provide more details a little later. This helps to create a page-turner while the reader hurries along to find the answers.

Introducing the characters means to introduce their goals, some motivation, and to initiate the first conflict. During the introduction the reader can learn a mannerism, the character’s age and, perhaps, appearance through another character’s eyes. It will also let the reader know where the story is taking place— time of year and location. The introduction must be show not tell. By keeping it active, the reader will be drawn along, anxious to find out what will happen next.

14. How do you go about getting reviews?

Many publishing houses send book review copies to magazines, such as Romantic Times and Rendezvous. If they don’t, an author must prepare their own copies and submit. I make an ARC (author review copy) of my novel by removing the headers and subdividing the pages in two, vertically, in landscape format. I use size 10 font, single spaced, and number the pages. This will cut the novel down to fewer pages and give it the appearance of a novel. Make sure you include information of publisher, release date, ISBN number and contact information for you. Also near the bottom of your cover page indicate this is an ARC (unedited copy). Before I make my ARC, I do try to include major line edits and final galley edits to the manuscript so it is as close to perfect as possible. Once you have an ARC, you can begin contacting magazines, such as Bridges, and many of the on-line review sites. Many ask you to complete an on-line form providing information, and others only request an email with the name and book genre. Each review site will contact you on where to send your ARC. Below is a list of sites that I find cooperative.

Bridges Magazine	The Heart Behind Heart Rate Reviews
Scribes World Book Reviews	Romance Review Today
Romance Readers Connection	Word on Romance
Romance Reader

15. How do you format your manuscripts?

I format my novels to generate a 250 word page count even though one house asks for a computer generated count. I use WordPerfect and set my margins for 1.37" right and left and .5" at the top which allows for a header which includes the book title, author name and to the far right, the page number. I go down two line spaces from the header before I begin the manuscript text. Any serif 12 point font may be used. Most authors, I believe, use Times New Roman or Courier New (Dark, if available). I often bold my Courier New since Dark isn’t available on my computer. This gives a crisp dark font which is easy to read, along with wide margins. I select line spacing so that I obtain 25 lines per page, and I turn off widows and orphans to keep the lines consistent. The cover page includes author information: name, address, telephone, email address, rights, and word count. In the center, I include the book title, author’s name below, and my Bible verse selection(s) for the story. I begin Chapter One on page 2 of the manuscript, though I select the option to set the value as page 1.

16. As a beginning writer, I’m struggling with the opening chapter of my novel. Can you give any tips to make the opening easier?

Opening chapters begin with action—either dialogue or an active situation. The opening chapter has basically two purposes: to introduce the characters and to hook the reader with a beginning conflict. A novel begins at the point of change in the character’s life. Show something happening that will cause the character to never see life quite the same again. As you introduce characters, you are also setting up their motivations, goals, and conflicts. These elements are what make your characters real and what hooks the reader. Rather than handing the reader pages of backstory, provide foreshadowing of problems or information about the character’s past. Give the reader a taste of the information. Hold back important details until they are absolutely needed to make the plot work. You can do this through the character’s introspection. Example: If he knew the truth about her, he would run and never turn back. That kind of statement makes the reader ask questions and causes them to turn pages. To keep the story alive, show not tell information about your characters. Lastly, the first chapter should also let the reader know the seasons and the year (in general) and the location of the story.

17. What information should be included in a cover letter?

A cover letter has three purposes: to introduce yourself (background, education, training or conferences attended, published or not), to hook the editor on your storyline, and to show what makes your book/story/article special (how it will appeal or meet the need of readers). The editor will find it helpful if you include the length of the manuscript and whether or not it is complete and if not, when you expect it to be completed. Indicate the story’s genre: such as: romance, romantic suspense, historical romance, paranormal, romantic comedy, chick-lit, women’s fiction. If you plan to submit simultaneously (sending out the same manuscript to more than one publishing house or agent), you have the responsibility to tell the editor or agent of this. Some publishing houses do not accept simultaneous submissions, so do your homework. The end of the letter should thank the editor or agent for their time and consideration. You can also tell the person you look forward to hearing from them. Writer Market Guides often have samples of query and cover letters. Your library probably has a copy.

18 What kinds of research do you do for your contemporary novels?

Even contemporary novels need research, and I use a variety of techniques. For setting, I prefer to visit the location. I like to include real streets and real places if possible. Sometimes I give them fictional names, but I leave enough elements in place for the reader who lives in the area to know the store or restaurant. If I can’t visit, I interview people who live there. I contact the Chamber of Commerce for brochures and information about the community. I use travel books from travel agents or borrow them from the library. I also use the Internet to learn about the flora and fauna, birds, weather, business/employment opportunities, special community events, the local newspaper’s name, and anything else that comes to mind.

When I want to know more about a career, I speak with people who are employed in those positions. I want to know the lingo, the idiosyncrasies of the job, names of the tools or equipment they use, hours they work, peculiarities about their positions, and anything else that comes to mind. Often careers, draw personality types so learn all you can about the attributes of the person you interview to give them to your character. Engineers like to chart and graph their lives as well as the things they do on the job. They want clear details.

In my first two Loving Series novels, many scenes included sailboats and sailing. I had only sailed once, so I read books about sailing, I looked on the Internet for real life experiences written by people who sail, and I interviewed individuals who are knowledgeable in sailing. I even asked these people to critique the chapters that included scenes on a sailboat to make sure I used the proper lingo.

When I wrote a medical suspense story, I contacted two doctors—one an ER physician and the other a surgeon—to provide me with the facts and jargon of doctors. I also had three nurses provide me with nursing information—what things are called, kinds of medication used, and a host of other questions.

Interviewing and experience are two of the best forms of research. Where ever you travel, keep good notes, take photographs and collect brochures. You never know when you’ll be able to use the information in a novel.

19 I've been writing a novel. Can you help me get published or learn what I must do?

Getting published is not easy. Many people spend years writing and do not find a publisher. Self-publishing is usually very disappointing because the author has to market his/her own work, and unless the writer has a speaking ministry on the topic of the book, it's very difficult. Bookstores won't carry self-published, and shy away from most of the print on demand books. So trying to find a regular royalty paying publishing house is a good idea.

A publishing house does not have to be in your area. I write for Barbour Publishing which is in Ohio and Steeple Hill in New York City. I live in Michigan. I communicate with my editors in person during conferences or visits to the publishing house (which is rare) or talk with them by phone or through email. I have an agent and my work is sent to her and then to my publisher. Edits and author alterations (galley proofs) come to me through FedEx or another such services, so don't worry about not having a publishing house near you.

I have no pull with any publishing house. They editors are critical and even though I've signed 31 contracts for fiction, I still get an occasional rejection. The author must write so well that an editor is thrilled to buy your book. The best way to improve your writing is to join writing groups, to do critique groups, and to learn from reading the kind of fiction you want to write, reading how to write books and attending workshops. The best way to get an editor to ask to read your book is by attending conferences.

If you're interested in Christian fiction, I would recommend a wonderful writing group which is totally on line. I am on the founding board of American Christian Romance Writers (ACRW). Four years ago 6 authors (including me) decided to form a group. Today we are way over 500 members. Membership is $25 a year - and includes free on-line classes, critique groups, topics of the week, marketing news, support and published authors who share information. We also have an annual conference which is held in September and this year will be in Denver Colorado. Here is the link to the organization and if you look on the left of the web site - you'll see WFTH Conference. This is the conference I'm telling you about. I'll be teaching a class there. You would have the opportunities to meet editors and have them invite you to send in your MS. Agents will be there too - and you can talk to these people. They will not take your MS at the conference but they may invite you to send it. Please check out the web site. ACRW.net

Another excellent resource book is Sally Stuart's Christian Marketing Guide, sold at most bookstores. This book is filled with the names of publishing houses and tells you the kinds of book they're looking for - with editor names and address where to write for their guidelines.

Nothing gets a writer published faster than writing a compelling story with believable characters and real life issues that is well constructed, fast paced, and formatted in the appropriate manner. See the instructions for this Under FAQs for Writers

20 What do you see as the difference between Love Inspired and Steeple Hill?

Love Inspired is a category romance line at Steeple Hill. This means the books are formulated like all category romances. The H & H meet within the first couple pages, stay together through most of the book and if not, they're talking or thinking about the other. They go through a serious of conflicts until the dark moment when it appears all is lost - and then, surprise, a happy ending. These books have few sub-plots and if they do, it's usually one and is directly related to the storyline of the H & H. These books are mass market size and four book are released each month. So the shelf life is very short although they sell well, both retail and direct mailing.
Steeple Hill Women's Fiction are single title books that can be in many genre: long romance, historicals, mystery/suspense/intrigue, Chick-lit, Mommy-lit, family sagas. They are stories that deal with topics and issues of interest to women. These books are longer from about 90K to 120K plus word count. The longer word count allows the stories to be more complex. They can have multiple sub-plots that weave together and multiple POVs. The story has goals, motivation and conflicts, but not necessarily a romance. The story can be about sisters or mother/daughter. The length has more room to deal with serious issues that can be probed from various angles. The books are more expensive, trade size and have a long shelf-life. They can have a second print run if need be. These are sold retail and also as direct mail. Right now they're releasing one a month, but plans are in place to go to two this year.
All in all, Steeple Hill and Love Inspired line, at present, offers 60 opportunities to sell a book. As well they put out anthologies of three stories from previously published books in a thematic grouping.

21 You said: The middle of the book is open to creativity. The middle of the book is the hardest part for me - can you tell me what's most difficult for you?

I think the middle of the book is hardest for everyone. I think that because it's the long stretch of time between that dramatic opening and the exciting ending - and things have to happen that mean something. Dialogue must move the story forward, characters must grow and change. So naturally, the middle is the challenge. For me personally, the middle is the greatest challenge because it's in the middle that I leave lots of open space in my synopsis for "things to happen." I haven't yet decided what those things will be, and I don't want to, because I prefer what happens to stem from the characters who own the story.
When I get cornered, I do some exercises. You've all heard of the "what if" theory. Ask yourself what if . . .and then put something new in the way of the character. Or instead of having her say yes, that's fine, have her say no about something important. Donald Maass has some great suggestions to improve writing in his book Writing the Blockbuster Novel - - or something like that. One thing he suggests is - as you move into your story decide something that your characters would never do, then set it up so the character must do that. This will enhance your middle story. Another thing is to take another character's role and give those tasks to a different character. Let's say you're writing a story and the heroine has a caregiver for her mother whose very ill. Get rid of the caregiver and add those duties to your heroine. How will that affect her life? How will that change her as a person? Don't let things get resolved so easily. Have things that look like they're going to be resolved suddenly fall apart. You have control - and you can make bad things happen. This keeps your story interesting and readers turning pages.
Hope that gives you some new thoughts about the middle.

I keep the notes on all my books, but I learned quickly that the details from book one into book two needs to follow logically - and once you get to book six, which is where I'm at now, the details can get very sticky.
I keep a sheet that pinpoints specific information that I think I'll need to remember in the next book. I won't need to recall that the hero in book one had green eyes and a dimple, because in book two he's a secondary character. I do need to keep his personality and characterization the same though - but these people become my friends so I usually remember that part well. What I do is keep track of things like: date of book release, age of major characters and their children, place of employment, street of their residence, name of their church, announcement of marriage or pregnancy and birthdays.
When I find myself in book three or four for example, I have to remember that if a character was pregnant in book two, she's either still pregnant or has a baby. If the family had a toddler, in book two - by book four the child could be in kindergarten.
When characters meet in other books, I have to remember if they go to the same church because they'd probably already know each other or perhaps they have mutual friends. Those little details are so important and can save a great deal of time, plowing through the old manuscripts trying to remember that kind of detail. If you get it wrong, trust me, you'll hear if from the readers and they often let you know it.
Within a book, it's also good to keep a timeline. That way you can always go back and check to see if a week has passed or was it a month. If a book spans a year's time - you need to be true to the seasons and events of the day, and so a timeline helps to keep you from making a mistake. I once changed the season for the start of a book and found autumn leaves crunching beneath their feet in winter. The leaves might be there, but here in Michigan they'd be soggy. No crunch.

23. How do you write a one-page synopsis?

When creating a one page synopsis, you must keep it tight and go for only the core of the story including the major goals, motivation, and conflict. If you’ve already written a longer synopsis, here’s what you can do. Cut most of the specific activities in the story. You don't need to tell the time of day, month, weather, or where they are when the conflict occurs (unless it's important to the outcome). Cut all subplots except a statement such as: her best friend's problems complicate her struggle. No clothing descriptions or physical descriptions are needed.

Write your synopsis as tight as you can. Then go back through and cut every extraneous word that isn't absolutely necessary. Even words like Three weeks later, soon, one evening, after dinner, etc. Ask yourself with each phrase - - is this something the editor must know. You're going for the bare bones of your story with some heart (emotion).

Remember an editor wants to know only the gist of the plot, but is most interested in what the hero and heroine are trying to accomplish, what are their needs and goals, why are these needs and goals important, and what conflicts arise because of their differences. Make sure the faith elements and romance are in the story. Romance can be shown by saying: As time passes, their love blossoms or His first kiss assured her of her feelings. Single statements are enough in a one page synopsis.

Do no leave out important elements. The editor wants no surprises. In a romance, don’t say their problems are solved and they live happily ever after. The editor wants to know how the problems are solved. That’s part of the resolved conflict. In a romantic suspense, don’t say: The mystery is solved and the criminals go to jail. The editor needs to see how you solve a crime.

Single space your manuscript and if necessary change the font to eleven points. You could even stretch the margins a little, but don’t overdue the formatting. Try to keep it as concise and complete as you can.

Loving Hearts one page synopsis sample

24. Do you have any advice when it comes to "pacing" a novel?

Pacing is an important element of storytelling and is probably one of the hardest ones to master. Pacing is what keeps the story moving with a good balance between action and reaction. It makes each scene and each set of dialogue move the story forward by adding depth of character or new information. It means beginning the story at the point of change, developing immediate conflict, solving one and introducing a greater conflict immediately. Pacing keeps the story pointed toward the goal. When you reach the end, stop. Don’t drag the story out into explanations. When the final conflict is solved, the story is over, leaving the reader breathless and pleased.

25. Is interior monologue direct thought or is it reflection? Is there a difference?

I use internal monologue in a variety of ways. For one thing, introspection is the only time the reader can know the character's real truths - - unless he/she is fooling her/himself. It's a time to reflect on the past and it's a time to respond to the present or to plan for the future. It's a place where the author can drop a clue to the past or piece of backstory or even foreshadowing.

Truth:

Joe couldn't tell her how he really felt. She wanted him to say he loved her, but he couldn't. He'd learned that he couldn't love anyone when he didn't love himself.

Reflect on the past:

Looking at Susan today drew him back to five years ago when they'd first met. The memory sent a chill up his spin, recalling her face tilted toward the sky, the sun shining on her hair. Why couldn't he allow those feelings to surface today?

Future:

Tom's mind spun with ideas. He had to do something. Time wouldn't allow him to weigh every option. She needed his help and it had to be now. Possibilities filled his mind until one stood out among the rest. He knew what he had to do.

Foreshadowing:

A shudder rolled over Susan's shoulders as she headed for the basement. Why dis she dislike this place? She guessed it was too much like a grave. A basement was underground, and Susan preferred the light, not the dank gloom of a cellar.

(Now you can guess that she's going to find herself trapped in an underground location eventually in this story.)

26. How many people do a complete outline or synopsis first?

Both my publishers require a synopsis for a sale. The synopsis doesn't have to be complete, in terms of every story detail. Like any good synopsis, the editors want to know the gist of the story, have some ideas of motivations and goals within the characters and to learn some of the conflicts and perhaps the ultimate "black" moment, then the resolution. Editors want to see the growth in the character and in their spiritual lives. I leave much room in my synopsis for creativity, but I never sway from the main idea without contacting the editor for approval.

It's not that difficult for me to write a synopsis because the story has usually become a movie in my head that continues to grow. I can see the characters and some of the scenes. I can hear dialogue and see emotion so when I sit down to write the synopsis, it pretty much falls into place.

Sometimes writers think they must tell the whole story -- every detail -- whether it was day or night when he kisses the heroine the first time or when the body is found. The editors don't care about that. They want to know how that affects the plot. Remember the only details the editor wants to see is goals, motivation, conflict, resolution which includes character and spiritual growth. The bits of plot are only there to help them see how it fits together.

27. I know you're a novelist but you often know about other kinds of publishing genre. Could you tell me anything about writing devotionals?

I've written and sold numerous devotionals -- even one to the Upper Room which was a thrill for me, but I have no book or anything to direct you too. To learn about writing devotions, I read them (some were available at my church). It showed me what they publisher wanted as far as style and format. Then I began to write and submit. I sold many of them to Christian magazines.

To find the best places to publish them, you can look at Sally Stuart's Christian Market Guide. It's invaluable for finding who buys what and you can write to the publishers and ask for their guidelines. I'm sure you can find books or booklets on writing devotionals, but here is a general idea of the format.

It sometimes lists at the beginning or ending a group of verses that focuses on your devotional topic for further Bible study.

Name the specific verse that you will address.

Then comes your devotional which should be brought to life in an experience or story that captures the readers interest and the lesson learned from this experience as well as how God's Word affects the lesson.

A devotional usually always closes with a prayer usually.

But this is only one kind of devotional. The chicken soup books are like devotionals too and I've sold to them--Chicken Soup for the Soul II. If you look at one of the books, you'll see that style.

Internet search engines can be very helpful. Here are some great explanations. Cec Murphy is a great teacher and here's his information:

Click here: How To Write Devotionals

Here are two more I found:

Click here: Getting Started As A Devotional Writer

Click here: Ten Steps to Writing Devotionals

I searched the Internet with the subject Writing Devotionals, and I found all kinds of information, including books on the topic.

28. I don't understand the purpose of an Influencer. What is it?

When books are released, authors sometimes want to share there books with others who might be influencers. An influencer is a person whom you believe will read your book and tell others about it, by word of mouth, but also by writing a review on one of the Internet bookstores like Amazon or B & N -- or who might read it and include their enjoyment of the book in their next newsletter. I try to let my readers know what books I've read that I've enjoyed so many people who might not know about this book and like my work will be influenced to purchase a copy. An influencer who has a blog might talk about the book and what they loved or what they gained from reading it.

Usually influencers are people you know and trust. I've been building a Christian fiction library in my church. So many people who love to read aren't familiar with Christian fiction and this is one of my ways of being an influencer. I add their book to the library with a recommendation in a newsletter. If someone reads the authors book, she/he might look for other books by this author in the bookstore or tell others what a great book they read, and thus influence them to purchase the book.

29. What are the rules for using song lyrics in novels?

Song lyrics are a very touchy business. Just like poetry, it's different than a novel where you can quote a short piece of it with no problem, but poetry and song lyrics are short and there are copyright laws that protect them. Most publishers won't let you use the lyrics. You can use the title of a song because titles aren't copyrighted. Both of my publishers will not let me use lyrics and I think that's pretty much the same for all publishers.

I found this on a site called The Writer at http://cs.writermag.com/

QUOTE: Originally posted by shatteredday

Don't. There is no provision in fair use for using anyone else's copyright work in your own fiction at all. Fair use covers review, academia, including classroom, library, and homework, critiques, and similar specific nonfiction uses only.

"The 1961 Report of the Register of Copyrights on the General Revision of the U.S. Copyright Law cites examples of activities that courts have regarded as fair use: “quotation of excerpts in a review or criticism for purposes of illustration or comment; quotation of short passages in a scholarly or technical work, for illustration or clarification of the author’s observations; use in a parody of some of the content of the work parodied; summary of an address or article, with brief quotations, in a news report; reproduction by a library of a portion of a work to replace part of a damaged copy; reproduction by a teacher or student of a small part of a work to illustrate a lesson; reproduction of a work in legislative or judicial proceedings or reports; incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported.”

This aside, using song lyrics or poems will get you sued faster than anything else there is. Songs and poems are usually very short, so the authors don't like having even a single line used. If yu do want to use them, publishers expect you to gain written permission, and this can cost a lot of money.

It is simply never, ever a good idea to use any portion of anyone else's still copyrighted work in your own fiction. But songs and poems are particularly deadly.

30. This question is about conflict. I'm reading books, trying to figure out how to make my own conflict work better, but I can't see that I'm doing anything differently than most writers. I don't see that any of the conflicts I've read in 14 books are any more developed than the conflicts that I have been getting "this won't sustain an entire book" comments. Can you explain this to me?

My new book released in December 2007 for Writers Digest - Writing the Christian Romance - covers conflict well, but here's my quick attempt.

I agree that sometimes conflict drags out and a good conversation could solve the problem, but if the author has developed a deep-seeded fear or need inside one of the characters, it makes sense. If you look in your own heart, you will probably think of something you did in your life that is a real secret -- some guilt or shame issue, something you know the Lord had been utterly disappointed in you. These are issues which we don't easily admit and sometimes they become the molehills to mountains situations.

But most conflict isn't just an argument or problem easily solved. Conflict must come from something deeper. It often begins in backstory, twisting the character's psyche, affecting the characters goals and motivation, and driving them forward without commonsense sometimes. Many such conflicts deal with spiritual issues.

Conflict can come from two people wanting the same thing and only one can have it - or two people wanting the same thing but in a different way. It can come from fears that people don't want to admit --- a woman who's hidden a rape -- highly fears how her relationship will be with a man. Someone with the inability to have children will not want to fall in love with someone who deserves to be a father or mother - and this will hold them back. Even if the other party says it doesn't matter, it matters to the one who's to blame and the issue is complicated more if the character saw a marriage fail because of this problem in another couple. Conflict can come from two people who fall in love and each have a career in different areas of the country -- established jobs they don't want to leave and each hopes the other will give in -- or they fight against falling in love for that reason. The problems can appear simple, but when this job is something the character struggled for -- if it provides him or her a sense of identity and purpose---then giving it up can lead to martyr-ism (if that's a word) and ruin a marriage.

We have to look inside the minds of a character to see how they are viewing the problem with their own set of complexities. Just as emotion is complex--never clear cut, neither is conflict. It has a multitude of issues that feed into the problem that make it a "big" problem, where in your personal life, it seems so simple.

Still it's the authors job to provide enough depth to a conflict to make it real and to bring out the emotion of the situation so it makes an impact on the reader and touches them in a way that they can relate to the struggle and it is vital for characters to change and grow throughout the book just as we change with each experience. This makes the characters real and it makes the conclusion realistic.

As far as story dealing with an unbeliever as a major conflict, I avoid conversion stories. I often have a weak Christian who's struggle is due to something happening in his past that knocked his faith on a tilt -- and as he struggles the tilt becomes less and less until he realizes that the Lord has been waiting for him with open arms. Then the story conflict can draw to a conclusion with realism

Because of the nature of conflict, especially in a pure romance (not romantic suspense or a romance in women's fiction), when a character says I love you, it's pretty much the end of the book- so sometimes the solution seems fast -- but if the author has built up to this, then it works. I have used the "I love you" from one character and a "no" from the other -- in the heart it's a yes but something holds the character back from willingness to submit to the love they feel. Many things can hold us back, and I mentioned a few of them earlier.

My book Writing the Christian Romance gives lots more information -- but I hope this gives you some ideas about conflicts. Conflicts, like emotion, must be layered and deep and realistic.

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