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Short But Sweet: The Romantic Novella The Romantic Hero—Christian Style Want to Write? Try your Church Where Do I Go From Here? Shoring Up The Sagging Middle Using Good Sense—Romance Style Romantic Baggage (Backstory) Making the Most of Descriptions Weaving Faith into Romance Novels Two Inspirational Romance Market Overviews Getting to Know Your Characters Love in Motion (Passive and Active Writing) Variety – the Spice of Writers Making the Most of Rejection (More tips will be added periodically)
by Gail Gaymer Martin Every novel needs a variety of hooks to keep the reader turning pages. Romance is no exception. Hanging on to the reader’s interest can result from story hooks based on a theme or a twisted premise. Opening hooks keep the reader captivated by using accepted techniques that grab the reader’s interest. Finally plotting hooks can move the reader from the end of a chapter or scene into the next without realizing it. A hook makes the story memorable. It involves the reader so deeply that all sense of time vanishes, resulting in late dinners and missed appointments. Theme Hooks Certain universal fiction themes have been proven through the years to attract the interest of romance readers of both secular and Christian fiction. These themes tend to grab emotions or provide unique backdrops for the stories. Some of the standard romance themes that have proven themselves are: medical romances, office romances, holiday romances—Thanksgiving, Christmas, Valentine’s Day, and Mother’s Day. Other themes involve: undercover agents, cop heros, women in jeopardy, single moms, twins, reunions, exotic locations, forced proximities, hidden identities, hidden agendas, kidnapings, characters on the run, abducted children, heroine transformations, multi-cultural characters, second chances, match-makings, and marriages of convenience. The opening of Christmas Moon in the two-in-one hardcover novel, That Christmas Feeling, uses the marriage of convenience hook. "Rose...I want you to marry me." Rose Danby’s spoon clanged into the sink as she spun around to face her employer. She searched his face, expecting to see a grin, but he looked serious. He was handling the joke with the skill of a stand-up comedian. "So...what’s the punch line?" Rose asked. Paul Stewart faltered. "It’s not a joke. I was thinking that--" "It’s not a joke?" She felt her forehead rumple like a washboard. Not that she wouldn’t want to marry a man as kind and handsome as her employer, but she was his twins’ nanny. "What do you mean it’s not a joke?" His gaze searched hers. "I’m sorry. I shocked you." He moved closer. "It just makes sense." "It makes sense to you, maybe, but I don’t get it." This theme, like the others, grabs the reader’s interest from the opening lines and draws them into the story. This particular marriage of convenience theme also has a twist. Twisted Premise A premise is an assumption the reader makes from the story’s beginning, based on what is usually expected—a doting husband is in love with his wife, a beautiful woman who has everything is happy, a successful businessman is confident, an engaged couple is planning a wedding. When hints suggest early in the story that things aren’t what they seem, the reader’s curiosity is nabbed. He or she can’t put down the book until the reader understands the story’s twist. If a book opens with the death of a fiancé, the reader assumes he is dead, but what happens if that is not the case and it’s all a set up? Think of movies like The Sixth Sense, Ghost, Rosemary’s Baby, and others that lead the fascinated reader on a twisted journey. Page One Hooks Good writing uses a variety of techniques to grasp the reader’s interest from the book’s first pages. Some of the methods to open with are: action or dialogue, at the point of change, with a sense of urgency, with captivating characters, with a humorous or novel situation, leaving the reader curious, puzzled, or intrigued, or with the reader wanting to know what happens next. Notice the effect of these samples from well-known Christian authors. Action: Angie Hunter stared out the tiny window of the Bombardier turboprop, keeping a death grip on the armrest as the plane bounced and dropped in the turbulent air above the still, snowy mountain range. (From Legacy Lane, Robin Lee Hatcher) Dialogue: "Listen kids. Stay right here while I get the car." Standing under the shelter of the covered mall entrance, Debra fixed her gaze on one precious child then the other. All the while a downpour hammered against the roof above them. (From Footsteps, DiAnn Mills) Humor: Two things had been on Cat Simmons’s mind. Gage Farrell’s handsome face. And a dirty undershirt. (From Hope’s Garden, Lyn Cote) Intriguing, Curious: Keryn Wills was in the shower when she figured out how to kill Josh Trenton. (From Double Vision, Randy Ingermanson) What will happen next: The noises, faint, fleeting, whispered into her consciousness like wraiths in the night. (From Brink of Death, Brandilyn Collins) Opening lines as those above hook the reader and give the promise of an intriguing writer’s voice and a compelling story. Plotting Hooks Two standard plotting hooks are: the time bomb and the Jack-in-the-box. The time bomb refers to a story line that has an explosive time limit—time is running out. A young woman is heir of her wealthy uncle but most find a husband within the month or she loses the fortune. The Jack-in-the-box technique is a plot with surprises. From hints, foreshadowing or rising conflict, the reader senses something is going to happen and the waiting helps to cause tension. For example, the hero is in love with the heroine, but hints he has a secret that would destroy his relationship with the heroine. Chapter and Scene Hooks Most readers prefer to put down the book at the end of a chapter or scene. A good writer can learn techniques that will draw readers into the next scene or chapter without them being aware. End each chapter with action, a vital piece of information or a thoughtful question that pulls the reader into the next scene. Don’t stop the scene at the end, but carry some of it over at the point of interest. In A Love for Safekeeping, the heroine senses someone is following her. She darts for her car, hits the remote to unlock the door, and these two lines end the chapter. A hand clamped down on her shoulder. A scream tore from her throat. The next chapter opens with a continuation of the action. Another technique is to shift action and point of view (POV) from one character in a scene to a new scene involving another character’s action and POV. This works well especially in a dramatic situation. In Loving Hearts, the hero and heroine end their relationship. In frustration, he takes his sailboat out too late in the season and a storm comes up on the Lake Michigan. Meanwhile she has second thoughts and tries to call him to beg his forgiveness. When she learns he is on the boat and knows a storm is brewing, she panics. The reader is moved between the two characters and experiencing their independent struggles. Using Hooks Hooks are vital to writing a page-turner. A combination of hooks: plotting, theme, twisted premises, openings, and closing scenes or chapters can be used to capture the reader’s interest. Not every chapter or scene needs to open and close with a dramatic hook, but these techniques should be scattered throughout the story. The goal of a good writer is to write a book people can’t put down until the end. © 2005 Gail Gaymer Martin
Short But Sweet: The Romantic Novella by Gail Gaymer Martin Romantic historical and contemporary novellas are popular among readers. They are short novels, running from 20,000 to 38,000 words, yet are complete stories of two people struggling through conflicts to reach a romantic happy ending. These shorter reads are usually placed into anthologies that are thematically based on holidays, location, pleasurable interests—camping, chocolate, sewing, quilting, etc— and are enjoyed by people who dislike putting down a novel, but who have time restraints. A novella meets their need for a good book that can be read in a shorter time period. How do novellas differ from novels? Some of the major differences in novellas are:
Connection between the hero and heroine Because a romance moves through three stages of romantic feelings—awareness, interest, and attraction—a novella does not allow the time to explore these three stages fully. Having a past connection between the hero and heroine allows the relationship to develop in a speedy yet believable manner. In "To Keep Me Warm" from Barbour’s anthology, Home for Christmas, Ken Richmond runs into Julie Gardner at a church singles group and recognizes her as a nurse from his son’s orthopedic surgeon’s office. "An Open Door" from Barbour’s From Italy With Love takes Steffi Rosetti to Milan for a fashion magazine feature where she meets, Paul DiAngelo, a newly employed photographer who works for the same magazine. The Barbour anthology Once Upon A Time offers an anthology of modern-day fairytales. In "Better to See You," Lucy Blake enters a wood-crafting shop in Oberammergau, Germany and finds an old friend.
"All Good Gifts" part of a Steeple Hill Two-in-One, The Harvest, Jill Roddy meets Ryan Walsh in a dark wooded setting, then realizes they’ve met before through his sister.
Whether old friends, ended relationships or familiarity through relatives, friends or coworkers, the hero and heroine’s relationship is more appealing and realistic when using these techniques. Subplots in novellas The storyline in a novella must remain focused on the relationship of the hero and heroine, so unless a subplot is a minor element and serves a direct purpose to the outcome of the hero and heroine’s relationship, they should be avoided. In "To Keep Me Warm," Ken’s son needs leg surgery. Through the child’s illness, the hero and heroine meet and create a common bond between them. "Yuletide Treasure" in Christmas Threads, a Barbour anthology, introduces the subplot of a wooden heart-shaped box. This box becomes the catalyst to help Livy understand the true meaning of love as God expects and opens her eyes to wait for God’s timing. These subplots are short and significant because they affect the characters relationship or help to emphasis the story’s theme. Setting’s Purpose in a Novella All readers want a sense of place. They expect to know where they are and the time of year. This information can be provided in simple ways with limited word count. In Christmas Threads, the time of year and story location is made evident in the opening paragraph and sets the time period as historical.
In another excerpt from "All Good Gifts," the description sets the tone for the opening scene.
Time Span and Romantic Expectation Because the novella is often three to four times shorter than a full-length novel, the stories time span is also shorter. Usually a month or two is long enough to develop the relationship of a man and woman into one that is headed for a deeper commitment. In "An Open Door," Steffi and Paul leaves the reader with the expectation of a happy ever after ending.
Although some novellas do end with the promise of marriage, many do not. The end decision is whether or not the hero and heroine have had enough overall time in their lives to make a marital promise that is God pleasing. Old friends brought together or a failed relationship renewed could prompt a marriage proposal by the story’s end as long as the past issues have been resolved. The final scene in "All Good Gifts" offers a commitment of love, and an epilogue shows the wedding two years later.
Whether you write a novel or a novella, the important element is to leave your readers with tears in their eyes and a smile on their lips. Give them a story that grows from awareness to interest to attraction in a realistic manner, and then give them a happy ending. © 2004 Gail Gaymer Martin
The Romantic Hero—Christian Style
by Gail Gaymer Martin Booksellers say romantic mystery and suspense have become a growing favorite with readers. Many authors are now studying this new phenomenon with the hope of turning their romances into suspense-filled stories. Everyone likes a page-turning novel—one that keeps readers glued to their seats and holds them captive until the wee hours of the morning. Nothing can do that more easily than a good mystery. But writers need to remember when writing romantic suspense, the novel’s focus is still the romance. The author’s task is to learn how to blend these two elements. Hero and Heroine Struggle Together Suspense can grow from the plot, character or setting, but no matter what type of romance story—a cozy suspense or a high-powered political mystery—the hero and heroine are in it together. Perhaps the hero is a prime suspect or an ace detective. Perhaps the heroine is a crime witness or amateur sleuth. No matter what role either plays, the hero and heroine find themselves thrust together by the problem. The story must be interwoven offering a balance of scenes to show the growing romance as the suspenseful story unfolds. Rhythm of Suspense As in all stories, the writer starts at the point of change—the moment just before or after the body is found, the heroine finds the strange package on her doorstep. In my romantic suspense, A Love For Safekeeping, Jane Conroy suspects she is being followed. No one believes her until a student hands her a paper bag he received from a stranger in the parking lot. Jane set the package on her desk and stared at it. Foolish. What could be so dangerous in a small grocery bag. She took a deep breath, controlling her tremors, and pulled open the top of the sack and looked inside. An old, dog-eared book lay in the bottom. Surprised, she shrugged and pulled out the volume. When she turned the book over, the title struck her between the eyes. Fun with Dick and Jane. A torn piece of paper stuck out from the pages, and she flipped it open. Circled in black marker, two sentences rose from the page. Her legs trembled as she peered at the words. See Jane. See Jane run. With these words, the suspense begins like a roller coaster ride. Tension climbs as the characters head toward the first crisis. In Jane’s case, another incident and the message, See Jane Fall. In all mysteries once a lead is found, the hero and heroine follow it until the clue goes nowhere or gives way to a new lead. The roller coaster takes a downward plunge, allowing the hero and heroine to regroup before the tension climbs again to the next disaster. This rise and fall affect gives readers a moment to breathe and a time for the romance to progress before sending them on another tense journey to the next calamity. With each problem solved, the next one becomes greater and more dangerous—See Jane die—until the final moment of truth when right prevails and evil is punished. Suspenseful Plot Structuring Suspense plots can be developed in a variety of ways. One method is the ticking clock. If the bomb isn’t found within a certain time frame, many will be killed. If the child isn’t located before he needs his medication, he may die. The reader knows the time limit, and the journey is fast-paced and tense. Another method is like a jack-in-a-box—knowing something will happen and waiting as the tension rises. This style can be handled in two ways. First the reader knows what will happen, but the hero and heroine are unsuspecting. This is accomplished by providing the antagonist’s point of view. The other method is both the reader and the main characters are in the dark. Suspects and Clues In all good suspense stories, the author will provide numerous suspects who had the opportunity and motive. This keeps the plot active, the hero and heroine struggling to find the truth, and the reader right along with them hoping to solve the mystery. In Jane’s story, Kyle, the hero and a police office, makes a list of suspects. Then he pried names from his mind. Celia, Len, Malik, Keys. Anyone else? The principal came to mind. Skylar? He seemed far-fetched, but Kyle shrugged and added the name to his list. Somewhere in his mind other phantom characters jogged through his memory, but he couldn’t put a name to the faceless people. Along with suspects, the author needs to lay out clues and information in every scene. The clue may seem unimportant, but as it joins the next and the next, the protagonists and the reader can begin to untangle the information. A clue can be anything from an item, a map, a gesture, a blood spot, to something missing from its usual location. Occasionally something seems like a clue and is proven false—the infamous red herring or the clue can be seen but misinterpreted. Point of No Return On the final and highest hill of the roller coaster, all threads begin to pull together—clues, suspects, facts and interpretation. A romance mystery or suspense should be solved by the main characters who, with God’s help, comes to grips with the truth and, without the help of a landslide, hurricane, or other acts of God, corner the criminal and bring him to justice. The author owes the reader a tightly woven tapestry, with all threads and loose ends tied and finished so when the reader closes the cover, he breathes a sigh of relief and knows he’s read a real page-turner. © 2002 Gail Gaymer Martin
by Gail Gaymer Martin Whether a past romance, a difficult childhood, or a dark secret, backstory creates motivation, goals and conflict in fiction. In romance, issues within the hero’s and heroine’s backstory is often that "unwanted baggage" that causes them to fear commitment, reject love, distrust individuals, or a multitude of other problems that create the story’s major conflicts. Backstory And How To Create It Backstory is all of the action that occurred in the characters past before the story begins. It includes the individuals’ relationships, health and education, upbringing and nurturing, failures and successes, romantic experiences, and Christian background. Like our own lives, these details mold the character into an individual with certain traits and attitudes. Most writers create well-developed lives for their story’s main characters. They create a past to shape their characters present and future. Author’s fill out character sheets, interview their imaginary hero and heroine, write biographical sketches, or a number of methods to get to know their characters. This information is used to create believable, realistic individuals with whom the reader will relate. It will give your characters’ rational behavior, showing their fears, perceptions, attitudes, and emotional difficulties. Not all backstory information is presented to the reader, but it is used by the author to bring about credible actions and reactions as the story progresses. A Writers’ Flaw Sol Stein, in Stein On Writing (St. Martin Press, 1995), says that today’s readers are influenced by the full immediate scenes of television and movies and become easily bored with narrative summary which includes backstory. Readers no longer want to plow through lengthy descriptions of scenery or a character’s past. They want action. Stein tells the writer to imagine going to a play and watching a set stage with no actors. Instead, the audience hears voices and sounds coming from off stage. The audience is restless and leaves the theater. In the case of a novel, the reader tosses the book in the "circular file." Many new writers present too much backstory too soon. Backstory is the subtle "seasoning" of a story. It brings out the nuances and flavors that help to create a delicious blend of action-packed motivation and conflict between the hero and heroine. Dumping all of the characters’ pasts into the novel in the first pages is like emptying a salt shaker into the soup. Instead, a writer must decide what information from the characters past is vital to the plot, and next, in what order should the pertinent information be presented. Effective Use of Backstory Select only those pieces of backstory that make a major impact on the story. Your hero may have grown up in a small town, but that fact is not vital to the plot Though your hero is a pilot, the writer need not expound upon the pilot’s past training and experience unless it affects the story or provides foreshadowing to a conflict or the novel’s black moment. Once the vital elements of the hero and heroine’s past is determined, then the writer needs to decide how and when to add this information. An author wants to present backstory in the most active method possible. Flashbacks work if the author is experienced and has the no-how, but a new author is safest by sharing the details in dialogue or providing small pieces of information as internal thought. Waiting until the right moment to provide past details or to foreshadow problems of the past can create suspense and surprise to the reader. Examples of Backstory In my 2001 Steeple Hill Love Inspired release, Secrets of the Heart, the heroine’s past hits her as introspection in this opening scene when she meets the hero, her friend Phyllis’s brother. What had caused her to sink into an abyss of miserable memories? The answer hit her before the question left her mind. Scott’s build. Not his near six foot stature, but his broad, square frame like a football player. Thick neck, powerful chest, strong muscular legs, and bulging arms she saw wrapped around Phyllis. She cringed with her recollection. This provides a hint of the backstory and creates suspense. Why were the memories miserable? Why did she cringe at the recollection? Midway in Chapter 2 when readers have grown to care about the heroine, they learn that she had a child when she was fifteen, fathered by a high school football player and that the baby was given for adoption. Filled with guilt and sorrow, the heroine has carried this secret, known only to her immediate family, and allowed it to fester and poison her life. Dramatic conflict is created at the end of Chapter 3 when the reader learns that the hero was an adopted child who grew up in a loving, Christian home. This dialogue provides a hook into the next chapter. "I was noticing how different you are. Not your attitudes..." Kate gave them an arched brow. "But looks. No one would know you’re related." "We’re not," Scott said. His abrupt comment startled Kate. She eyed him, expecting to see a smile, but he wasn’t smiling. "You’re disowning her because she took my side?" "No," he said, matter-of-factly. He glanced at Phyllis, a quizzical expression on her face. "Apparently, she doesn’t know." Phyllis shrugged. "Never came up in conversation." Kate’s heart thudded against her breastbone, wondering where the conversation was leading. She looked for a joke in their cryptic comments. But they weren’t smiling. "You’re not making sense." "I’m adopted, Kate," Scott said. Chapter 4 begins in Scott’s POV describing the startled, concerned expression on Kate’s face. By this time, the reader understands the heroine’s reaction and is concerned for her. Will Scott respect a woman who gave her child for adoption? Can Kate trust him enough to share her secret? Later in the story, the conflict is expanded when Scott reveals his strong belief in chastity until marriage. Each piece of information about the hero adds to the growing conflict in the romantic relationship between the two characters who have grown to care deeply for each other. By providing only the most vital backstory information a little at a time with the most action possible, the author creates suspense and interest in the story while writing a page-turner that readers will love. © 2002 Gail Gaymer Martin
Making the Most of Descriptions by Gail Gaymer Martin
Every fiction reader develops a visual image of the characters in a story and wants to feel a sense of place, imagining the hero or heroine sitting in cozy living room chairs, scurrying through a dark alley, or relaxing in a cutter with the wind blowing through their hair. Character appearance and setting are important to readers, but good writers want to do more than describe a character’s face or apparel. They want to do more than create a visual picture of where the characters are in the story. Physical appearance and setting can serve a greater purpose by adding depth to the characterization, setting a mood, and serving as allegories for emotion. Physical Description: Describing a character is more than hair and eye color, more than broad shoulders and trim waist. Physical description includes clothing and how the character wears them as well as voice quality. These visual element can bring the personality to life and create vivid characterization. Clothing style, hair or lack of it, and the way the character speaks helps the reader know if the character is eccentric, casual, uptight, prim, belligerent, obnoxious, flamboyant, aggressive, or unorthodox. In Loving Treasures, a Steeple Hill Love Inspired June 2002 release, Claire, the heroine’s mother-in-law, is an eccentric, yet generous and lovable character. Jemma describes her this way: When she first met her mother-in-law, Jemma had blinked in surprise at the older woman’s reddish, flyaway hair and her eccentric costume – zebra-stripped spandex pants with a black gauze peasant blouse, right out of the seventies. But Jemma soon learned that Claire’s heart was as lavish and generous as her flamboyant clothing. The reader learns that the unorthodox clothing reflects Claire’s unorthodox generosity. She’s a woman who would take the blouse off her back and give it to an admirer. The heroine in Romance By Design finds herself in a business environment where her clothing and jewelry stand out from the crowd. The reader sees her independence as well as her struggle to fit in. Touching the collar of her bright violet satin blouse, Morgan pressed the flouncy ruffle away from her chin and eyed her purple and pink print skirt. Maybe, she needed to add a business suit to wardrobe. The hero’s reaction to Morgan’s clothing helps readers understand his high business standards while hinting at a conflict between the two coworkers heading toward romance. Reaching the table, Morgan’s charm bracelet appeared to be the lesser problem. Hunter stared in disbelief. How could he eat lunch with Buffo the Clown? He gaped at her wild cascade of bright red hair and the huge purple clown ruffle around her neck. Straight simple lines, quiet elegance, that he could handle. The woman seemed an eternal adventure. Vocal Description: Describing a voice takes accurate word selection. The way a person speaks can identify his education, geographical origin, and personality. Voices can intimidate, arouse confidence or offend. In the Steeple Hill novel, Upon A Midnight Clear, October 2002, Callie creates an image of her future employer. A rich baritone voice filled the line, and when Callie heard his commanding tone, she caught her breath. Hamilton’s self-assured manner caught her offguard. His tone intimidated her, and her responses to his questions sounded reticent in her ears. In A Love for Safekeeping, a Steeple Hill January 2002 release, identifies a high school principal that the reader will find unsupportive and disdainful. Skylar’s reedy voice attacked her ear as he spoke in confidential tones with Kirk Brown from central office, then glanced toward her with his placating glower. Creating Mood with Setting: Setting is more than the location of a novel—city, country, room, or park. It also includes weather, month, year, and time of day. Setting adds authenticity to a story, creates a mood and enhances characterization. Envision a room’s decor—cozy, formal, drab, cheerful, elegant, sparse, or filled with knickknacks. All of these elements help to reflect the room owner’s characterization. Think of the Gothic suspense with its dark, stormy nights, or a thriller where the heroine finds herself alone in the woods with a killer. Mood is created through lighting and texture of a setting. In Upon A Midnight Clear, Callie arrives at the home where she will be a nurse. Callie regarded her surroundings as she slid the coat from her shoulders. She stood in a wide hallway graced by a broad, curved staircase and a sparkling crystal chandelier. Two sets of double doors stood closed on the right, and on the left, three more sets of French doors hid the rooms’ interiors, leaving Callie with a sense of foreboding. Were the doors holding something in? Or keeping something out? Descriptions of weather and nature can become analogies for character emotion as shown in this example. The spider was still at work and Fran was captured by the beauty of the iridescent threads glinting in the afternoon sunlight. Beautiful, yet distressing. She felt trapped in a web as intricate and lovely as the spider’s. In Secrets of the Heart, a Love Inspired June 2001 release, the heroine sits in a small café surrounded by flower boxes. An anthology is drawn between the woman’s feelings and flowers. Voices of other patrons filled her ears, and she gazed at the window boxes nearby filled with contained flowers reaching toward the light. Was she like those restricted blossoms bound in their small compartments, stretching and yearning for the sun? In the same novel, the heroine’s emotion is shown through weather. The rain splat against the windshield, running in rivulets like the tears that rolled down her cheeks. Remember, description can serve a deeper purpose by using it to enhance mood and create depth of character. © 2002 Gail Gaymer Martin
Weaving
Faith into Romance Novels What makes Christian romance different from other
romances? It's the faith message woven throughout the story. Like a fine
tapestry, the spiritual elements are entwined in the story's threads, creating a
vivid theme inseparable from the plot line. Although each publishing house looks
for individual ways the spiritual elements are handled, most have one thing in
common—the caution to avoid preaching.
by Gail Gaymer Martin Compelling characters, plot, and setting are necessary for a good romance, but believable emotions make the difference between a good and a great novel. What draws the reader into the story, what causes the reader to care about the hero and heroine are the rich blend of realistic feelings that brings the reader to laughter and to tears. The author’s first step is to devise a credible past or backstory for the hero and heroine. Then the task is to draw the character’s emotions from his personal background — his motivation, conflicts and goals. Knowing the character’s experience, hurts, success, and failures, an author can develop genuine reactions to stimulus by using the flaws, fears, and drives of the individual. Emotions are Complex No reaction is pure and distinctive. Emotions are complex, usually a blend of feelings. Consider, for example, the emotions of the heroine going out for the first time with the man of her dreams. She might feel a mixture of excitement, anxiety, happiness, adventure, or inadequacy. A hero who asks a woman to join him for dinner and is refused may feel a combination of frustration, irritation, defeat, depression, embarrassment, and determination. Emotions must be Felt If the reader is to feel emotion, the author must borrow reactions and sensations from her own personal experiences. All people have felt alienated or unloved for a variety of reasons. Each has been lonely, frightened, worried, or anxious. The author looks back into his or her own life to recall a time that triggered such emotions and, then, recreate them. Imagine the feelings of a teenager girl whose friends are asked to the prom and she sits home alone. What physical manifestations might be aroused? Tears, constricted breathing, dull ache in the chest, a knot in the throat, icy tendrils snaking down the spine, or twisting spasms in the stomach. Any or all of these sensations could express the feeling of rejection and longing. Revealing Emotion to Reader But physical reactions are not the only way emotions are revealed. The reader uncovers emotion through visible signs in body movement, posture, facial expression, and actions; through dialogue; and through internal monologue. Broaden the teenager’s physical reactions by adding her inner thoughts using a simile and metaphors.
These images bring the character to life and arouse the reader more than telling the reader, "She felt abandoned" or "Feeling abandoned, her heart ache." Showing arouses Feeling Showing, rather than telling, is the most effective method to reveal emotions. To say someone is sad or lonely does not tug at the heartstrings. To show loneliness arouses feelings from the reader’s own life experiences.
In the example, words like "sank," "empty silence," and "pressed" trigger a sense of loneliness, while discontent is illustrated in the cloud analogy An example from Upon A Midnight Clear, my award-winning Love Inspired release from October, 2000, shows the hero’s love for his child through internal monologue and action.
Along with love, this narration arouses tenderness and awe, giving the hero a much deeper characterization. Contrasting the Hero and Heroine’s First Meeting In my June 2002 release, Loving Treasures, Jemma Dupre a widow meets her widowed mother-in-law’s wealthy cousin. She finds him attractive but he is older and wealthy—way out of her league. Look at the emotion involved in their first meeting.
Philips’ first reaction of Jemma shows his disbelief that she’s aroused his interest so early and discomfort in finding a younger woman so appealing.
Using Life Experiences and Original Language Look into your own life experiences and recall how true emotion affect your inner thoughts and outer behavior. The find a unique way to show this to the reader. By showing emotions based on real life experiences, the reader will laugh, cry, and cheer as they follow the romantic ups and downs of the hero and heroine. © 2002 Gail Gaymer Martin
Two Inspirational Romance Market Overviews by Gail Gaymer Martin
© 2004 Gail Gaymer Martin (Updated)
Getting To Know Your Characters by Gail Gaymer Martin
While the hero and heroine get to know each other, the reader also becomes acquainted with fictional characters in basically five ways: physical description, mannerisms, dialogue, action/reaction, and introspection. By avoiding stereotypes and by layering qualities with consistency—altering them only as a character learns, grows and changes— the reader will accept the individual as believable and realistic. Insightful Descriptions The character’s physical attributes encompass appearance, his clothing and how he wears them, and vocal quality. Dressing a character is most effective when the description also gives the reader direct insight into the individual’s personality, for example, Claire, in Loving Treasures, a Steeple Hill June 2002 release. When she first met her mother-in-law, Jemma had blinked in surprise at the older woman’s reddish, flyaway hair and her eccentric costume – zebra-striped spandex pants with a black gauze peasant blouse, right out of the seventies. But Jemma soon learned that Claire’s heart was as lavish and generous as her flamboyant clothing. Distinct Tags Readers get to know characters through their mannerism such as: traits, habits, idiosyncrasies, eccentricities, gestures and stride. The author introduces them early in a novel and repeats them periodically through the story to add realism. The child, Nattie, in Upon A Midnight Clear, shows delight by "pushing her shoulders forward and squeezing her hands between her knees," and Lucas, the hero in Her Secret Longing, a Silhouette Romance September 2001 release, tucks his fingers into this back-pockets. These "tags" help create a sense of reality. Meaningful Conversation Dialogue sets mood and provides information, but as important, dialogue gives clues to the character’s occupation, education, and attitudes. Within dialogue, the author uses dialects, implied (subtext) or double meanings, temperament, and speech pattens which include: repetition, hesitation, brevity, or verbosity. In Her Secret Longing, the carpenter hero, Lucas, often speaks in innuendos. As he studies Kathryn’s home, he comments, "Good pine flooring. By the way, I’ll need to have your foundation inspected. Although," he added with a wry grin, "from all I’ve seen, your foundation looks pretty good to me." Action/Reaction Physical response also reflects the psychological and emotional reaction to a situation. In the same novel, the heroine comes home from work and finds Lucas wasting time bird-watching in her backyard. "Excuse me," she called, heading across the grass. Lucas lowered the binoculars and pivoted his head in her direction. He pressed his finger against his lips to quiet her, and she froze in place. Who was this man to shush her in her own yard? But as anger rolled up her spine, the ridiculousness of the situation flew to her lips. As she struggled with her grin, Lucas shot her a bright smile as if she were grinning at him. Enlightening Internal Thinking The final way to show characterization is through introspection. This internal process gives the reader greater insight into the real conflict, goals, and motivation of the character. In the novel, Upon A Midnight Clear, three characters struggle inwardly with sorrows and secrets they cannot share. When Callie is being interviewed for a position as nurse to the hero’s daughter, the reader senses David’s grief and inner conflict. An overwhelming sorrow washed over him, and the answer stuck in his throat. Callie’s question disturbed thoughts he’d tucked away. Now they came crashing into his memory. Without knowing, she was treading on raw nerve endings and deep painful wounds that had yet to heal. In a later scene, both character’s emotional journey is viewed through Callie’s eyes. She withdrew her hand a second time. He tilted his head, his face filled with emotion. She wanted to touch his unshaven cheeks with her palms and kiss the worry from his eyes. A worry that she knew was for her, not for himself. Everything in her cried out to tell him, but she pushed the urge deep inside her, praying this time the pangs would stay there. Do’s and Don’ts For good characterization keep mannerisms and reactions consistent, only altering them as the individual grows and changes within the story. Remember, never overuse a mannerism. Too little is better than too much. Always be original and avoid stereotypes. Finally as in real life, no one is perfect. Give your characters irritating mannerisms, bad habits, flaws and weaknesses. By balancing the five methods of showing characterization: physical description, mannerisms, dialogue, action/reaction, and introspection, an author can create a well-rounded, compelling hero and heroine who induces the reader to laughter and tears.
Making
Each Scene Count Each scene in a well-written romance moves the plot forward in some way by presenting pertinent information about the hero and heroine, by involving aspects of setting that affects the character or plot, or by providing events that advance the storyline. A scene that does not accomplish one of the purposes should be deleted from the story. Provide Pertinent Information Actions and reactions to information or situations provide important insight into the characterization. At the first meeting of the hero and heroine, the opening interaction sets the stage for the development of their relationship. It can point to major motivation and conflicts as the individuals strive toward their goals. Though backstory is important to understanding characterization, an author can accomplish as much by showing how the backstory affects the hero and heroine as they act and react and how their responses change as the relationship develops. In Secrets of the Heart, an August Love Inspired release, the heroine Kate darts into the house after hearing a piercing scream from her roommate, Phyllis. Flailing the first thing Kate touches–a flowered umbrella, she goes after the assumed attacker whom she learns is Phyllis’s brother. Notice how the backstory is woven into the heroine’s reactions as she studies Scott. Scott gave Kate a fleeting grin as he passed and followed his sister. Addled, Kate held back, struggling with her reaction to the strapping man. With one lengthy look, she had flown back in time. Back to high school. Back to her nonexistent confidence and her naive desires. What had caused her to sink into an abyss of miserable memories? The answer hit her before the question left her mind. Scott’s build. Not his near six foot stature, but his broad, square frame like a football player. Thick neck, powerful chest, strong muscular legs, and bulging arms she saw wrapped around Phyllis. She cringed with her recollection. Setting Adds Suspense and Mood Some novels are dependent on a setting that creates suspense or adds danger to a story. Scenes that depict descriptive details of a location prepare the reader for a future incident or situation. A scene might show the loneliness of a mountain cabin, the distance from the nearest neighbor or town, the dependence on a telephone for communication. This scene would be vital to a story about someone snowbound or trapped in such a location with a killer nearby or when the hero is injured and the heroine must save him during a tremendous thunderstorm. Events Causing Change Finally, scenes can move the story forward by presenting events that change the hero and/or heroine in a positive or negative way. The scene can introduce a new conflict, add a stumbling block to the hero and heroine’s relationship, show an event that introduces growth of understanding, foreshadow a coming event, or advance the relationship. In this scene from Secrets of the Heart, Kate faces the black moment and confesses her darkest secret to Scott. A stumbling block is added when Scott does the unthinkable. Scott reached out to hold her, but she pushed him away, sensing his shock, knowing he was repulsed. Before she could stop herself, before she could catch her breath and realize what she’d done, Scott rose and stumbled away from her. "I can’t fight you any longer," he said. "This is the last thing I thought would happen tonight. I’m sorry, but I can’t handle this." He spun on his heel and tore across the grass out of sight. Kate curled into a ball on the glider, her body reeling with spasms of guilt, her sorrow knotted within her like a hangman’s noose. She’d taken every measure of her inner bitterness and flung it at Scott as if he were the sinner, instead of her. Rather than kissing Scott’s feet and anointing him with oil, she poured venom on the fresh wound that she had opened. Impelling her tear-stained eyes to open, Kate peered into the darkening heavens. The sunset bled across the sky in orange and scarlet, like fire and flames—-like damnation. This scene deepens the conflict and adds new insight into the plight of the hero and heroine. Though the chapter ends leaving the reader questioning the hero’s heroism, the following chapter opens with a new look at Scott as he grows, understanding what caused his negative reaction. During the night shift at County General, Scott’s distraction concerned him. He struggled to concentrate on the patients and push his own desperation aside. He’d spent a couple of sleepless nights plodding through the horrible memory of Kate’s disclosure, overwhelmed by the outcome. Yet, her confession was the least devastating. What hurt him to the core was her lack of faith in him. After knowing him for a year, sharing untold hours together, why hadn’t she told him sooner? He’d done everything under heaven to let her know that his life was empty without her, and still, she didn’t trust him to share her doleful secret. Problems for New Writers A major problem for new writers is understanding the value and purpose of a scene. Even though the hero and heroine get to know each other more fully as they enjoy a picnic or tour the city sights, the scene has no value if it does not provide new pertinent information for the reader. To test the usefulness of a scene, authors can ask themselves the question, "How does this move the plot forward?" Whether a romantic dinner, a rousing hike, or a summer picnic, if the scene only fills pages to reach a page count or shows the passing of time in the romance, cut it. A scene is only as compelling as the information that helps the story progress toward a fulfilling ending. Let your next novel be a page-turner by making each scene count.
by Gail Gaymer Martin
Suspense, mysteries, and westerns are not the only genres that need action. Keeping your story filled with action-packed verbs helps the plot to move and creates a "page-turner." Passive voice is only one kind of inactive writing. Selecting inexplicit verbs and "deadwood" sentence structure also keeps you from creating a moving, active plot. Passive Voice The English class definition of passive voice is exchanging the positions of the subject and the object in a sentence. In active voice, the subject is doer; it does something. In passive voice, the subject receives the action. "The note was signed by him" rather than "He signed the note." In most cases, the subject should carry the action. Notice the word "was" in the first example. The "to be" verbs, such as: is, was, are, were, be, been, are usually connected with passive voice. Still, writers should not totally exclude these verbs in their writing. The "to be" verbs are often needed in predicate nominative and predicate adjective sentences, like, "She was beautiful" or "He was quiet. They were soldiers." Passive Writing Different forms of passive writing can dilute a good story. Using weak or general verbs, using "deadwood" phrases, and the overuse of predicate adjectives are all forms of writing that keeps the reader from feeling the action of the novel. Using explicit verbs is an excellent way to improve writing. Rather than saying she walked through the doorway, try a word that better describes her movement: bolted, dashed, charged, paraded, moseyed, sashayed, meandered, ambled, glided. Each of these verbs creates a different word picture than the unspecific action of "to walk." Compare these two sentences. She walked through the doorway with her nose in the air. She sashayed through the doorway, her importance flagging her audience with every sway of her hips. Which sentences paints the more lively characterization? Deadwood Kills Action Another writing problem is using "deadwood" phrases. These are words that add nothing to the sentence except length. In Strunk and White’s, "The Elements of Style," the authors use these examples: "There were a great number of dead leaves lying on the ground" compared to "Dead leaves covered the ground." Notice fewer words, yet a more lively sentence. Another example is: "It was not long before he was very sorry that he had said what he had." Removing all the "deadwood" from this sentence gives a clear, concise meaning. "He soon repented his words." Predicate adjectives, like "he was concerned," have their place, but a sentence with the same meaning comes alive and pulls the reader along by using active description as in the excerpt. "He tilted his head, his face filled with emotion. She wanted to touch his unshaven cheeks with her palms and kiss the worry from his eyes. A worry that she knew was for her, not for himself. Everything in her cried out to tell him, but she pushed the urge deep inside her, praying this time the pangs would stay there." (Upon a Midnight Clear, Steeple Hill, October, 2000) Active Writing As you inject more action into your writing, remember that action is more than doing things and going places. If well-chosen active verbs are used to create vivid word pictures, internal thoughts can be moving and draw the reader into the story as effectively as a car chase scene in a movie scene. Improve your writing by avoiding the straight predicate adjectives, by removing the "deadwood" from your sentences, and by selecting the most vivid, descriptive verb to show action. Active writing is more than using an action verb or filling the narration with descriptive passages. It is grabbing your reader by the hand and pulling them into your romance with compelling and moving narration and dialogue. © 2000 Gail Gaymer Martin Gail Gaymer Martin is a romance novelist for Steeple Hill Love Inspired, Silhouette Romance, and Barbour Heartsong Presents and Anthologies. She is a Holt Medallion Winner and a National Readers’ Choice Finalist.
Variety – the Spice of Writers by Gail Gaymer Martin
Lullabies, derived from the words ‘to lull’ and ‘good bye,’ are meant to soothe a child to sleep with their calming rhythm and rhyme. Rock-a-bye baby on the tree top. When the wind blows, the cradle will rock. Using the same sing-song sentences, you can create the same effect, lulling your readers to sleep. Variety is the spice of good writers, adding interest and excitement to your writing. Unique words, phrases, and sentences are what identifies the writer’s voice. And how do you add variety to your writing? By varying sentence structure: length, complexity, types, word order, openings and by varying word choices. Sentence length adds texture and emphasizes mood. A romantic piece of writing will use longer, liquid sentences than paragraphs written to create suspense.
Notice the difference between the lengthier sentence and the following piece of dialogue. Dashing through the doorway, John gasped, "Did you see it?" "See it? What? What are you talking about?" The abrupt, interrogative sentences add to the excitement and tension. But remember a good writer uses a mixture of short and long sentences to enrich his narration and dialogue. One method of varying sentence length is by combining choppy short sentences into a compound or complex structure. The opposite is breaking up strings of compound sentences that become dull and unwieldy. One method of combining two short sentences is using a conjunction to coordinate thoughts. Take for example this sentence.
Combining the two sentences with ‘but’ or ‘still’ coordinates the idea and adds variety. Another method of combining two ideas is using a dependent clause.
A final strategy to combine two sentences is embedding. John provided excellent counsel. He convinced the jury. becomes John, providing excellent counsel, convinced the jury. Another way to generate variety in your writing is to use numerous sentence types, mixing declarative sentences (statements) with commands or requests, exclamations and rhetorical questions. Notice the variation of sentences in this piece of internal dialogue
Varying word order is a unique method of creating an unexpected element in sentence structure. This strategy works well as a means of emphasis. Consider the sentence, I love Paris, and then notice the change when altering the location of the direct object. Paris, I love. The same effect is created by reversing other parts of the sentence. He was a handsome man. Especially noticeable was his stature. This last sentence begins with the complement and the verb follows and precedes the subject, stressing the word ‘stature.’ Sentences, beginning with the subject followed by the verb, are dull and monotonous when they appear one after another. Use clauses, phrases, conjunctive adverbs (however, likewise), and appositives (a noun or noun phrase re-naming the noun or pronoun it follows) to strengthen emphasis, to clarify relationships, or to modify the subject in a more creative way. Look at the following simple subject and compound verb sentence. She sat on the beach and watched the gulls fly over the water. Now, notice the variety of ways this sentence can be changed to add interest. While she sat on the beach, she watched the gulls fly over
the water. Editors and agents are turned off by sentences and paragraphs beginning with the same word. The rule of thumb is no more than two of the same words should begin paragraphs on a page or sentences in a paragraph. Knowing the vast number of options available to begin a sentence, you can solve the problem of unwarranted repetition. In a novel or short story, try employing creative sentence structure so you can begin paragraphs without overworking the use of character names or subsequent pronouns. The repetition of words is effective when deliberately used to emphasize a thought or idea. Study your paragraphs and note if you have used the same word or phrase more than twice in close proximately.
If so, use a thesaurus to find appropriate synonyms to vary your words. Notice the variation in words like: house, address, and fence.
Lullabies drone babies to sleep, but writers hope to waken the reader with their brilliant, witty, and exciting language. Don’t let repetitious, bland words or sentences bring an editor’s rejection to your door. Keep your writing sharp, clear, and stimulating by using variety.
by Gail Gaymer Martin Each day when I hear the mail truck, I hurry to the street, groping inside the mailbox for the stack of "junk" mail, bills, and hopefully, letters of acceptance. When the telephone rings, I hold my breath, wondering if it’s my agent with another sale. But too often, the telephone call is telemarketing and the publishing house letter in the mail is in the telltale brown envelope with an address label printed on my computer and know I have received a rejection. Published or not, rejection is the way of life for a writer. So often the rejection letters make statements like "This does not necessarily reflect on the quality of your work." Instinctively, our mental response is, "Oh sure, try to make me feel better." Even worse, it’s a form letter that says, "This does not meet our publishing needs." We long for one small comment, one tiny compliment or ray of hope. One thing I’ve learned as I’ve grown as a writer is to not let rejections upset me. I have learned to thank God for the acceptances I receive, remember that all things happen in His time, and make the most of the rejections. Planning Ahead Before a manuscript leaves my desk, I plan ahead. I pray that God blesses my writing, but I understand that a specific publisher may not choose to publish my work for a variety of reasons. Therefore, before I put the manuscript in the mail, I make a list of other publishing houses that might be interested in considering my romance or article. I place this information on a Post-It note and stick it to the page in my ledger where I keep track of each article. This page allows me to see at a glance when it was mailed, where the particular manuscript has been, and where it could be sent in the future. As I date the rejection column in the ledger, I am optimistic, seeing the options I have available for the next submission. This process could easily be put into a computer program. No matter how we keep track, when we plan ahead, our writing will arrive more quickly on an editor’s desk— where we want it to be. Rereading the Manuscript When a manuscript is returned with a rejection, it has been with a publisher for a lengthy period. The time lapse gives us distance from the work, and we can reread the story with fresh eyes. What sounded wonderful a month or two (or a year) ago, now may strike us differently. Sometimes, a recent article or workshop may provide a new idea or approach. Writers are constantly learning something new. Perhaps the opening lacks the "grab" we thought it had, or we have a good opening, but pages later our work falls flat. Rereading our manuscripts, after a lapse of time, is a way to find weaknesses in our writing and to use rejection in a positive way. Solidifying your Work Often when preparing a manuscript for re-submission to a new publisher, we are faced with the issue of word count. A 75,000 novel will not be accepted by a new publisher who accepts only 50,000. The solution is solidifying the manuscript. Removing scenes, descriptions, dialogue from the piece is an excellent exercise for improving and tightening our writing. It forces us to find more precise language, to remove redundancy, and to scrutinize each scene in a story to make sure it moves the plot forward in an interesting way. Romances rejected in their longer version may be purchased quickly when submitted in the more crystallized, compact format. Rejection can provide a lesson. Avoiding Delay Not every rejected manuscript needs rewriting. Often when my work is returned, I reread it and remain confident and pleased that it is a well-written, well-plotted story. Within the next two days, the manuscript is on its way to another publisher. I have learned not to put it aside but act on it immediately. Waiting periods are long enough for writers as our work sits on editor’s desks. We do not want to delay the opportunity for publication any longer than necessary. The words we write for the Lord belong in the world, not in our computers. In Jeremiah 30:2, the Lord tells us, Write in a book all the words that I have spoken to you. Our writing talent is a gift from God, and He asks we use it to His glory. Receiving Unexpected Gifts Sometimes rejections bring about unexpected rewards. A good rejection can give valuable pointers on improving our skills or our stories. An editor who takes an interest in our work will be receptive to seeing another manuscript. Welcoming Rejection We can learn to benefit from rejection by making it an exercise in perfection. God is perfect and He asks for our best. We can learn to welcome the rejections we receive, knowing that with each rejection we are one step closer to an acceptance, one step closer to perfecting our talent, and one step closer to glorifying God in the world. ©2001 Gail Gaymer Martin
Seeing Is Believing
©2001 Gail Gaymer Martin
Tips from a Love Inspired Author by Gail Gaymer Martin When an author finally makes the grade with a desired line, she often breathes a relieved sigh. But it’s possible, she has jumped the gun. Selling that first book doesn’t mean she fully understands the criteria and nuances of the line. And I speak from experience. My first novel, UPON A MIDNIGHT CLEAR, released by Steeple Hill Love Inspire in October 2000 sold in June 1999. After that, with each submission, I missed the mark several times one way or another until nearly one year later when I sold my second Love Inspired, SECRETS OF THE HEART, and A LOVE FOR SAFEKEEPING a few months later. Providing solace to a fellow author coping with a rejection, I sent along a list that I consider "necessary elements" for a Love Inspired novel. With so many words of thanks from authors interested in publishing with Steeple Hill, I solicited qualities from other Love Inspired authors. Below is a compilation of those elements. 1. The hero and heroine should meet early in the novel. Attraction should be immediate, but the romantic journey should be slow and based on deeper qualities than physical attraction. 2. Something more than attraction and a budding romance must keep the hero and heroine together. Working in the same building or having a mutual friend is not enough. You must show that these two people "need" each other for some deeper purpose. 3. Good balance between dialogue and description/narration is a necessity. Internal narration with backstory, motivation, and conflict is a must. If it is necessary to make a choice, lean more heavily on the latter rather than dialogue. 4. Description should be strong, providing the reader with a good sense of setting, mood, action, and emotions. 5. The story must be compelling – moving and emotional – to keep the reader turning pages. 6. The spiritual message should be clear, but not preachy or overstated. Work it into the story through actions and motivation. 7. Make each scene move the plot along by providing new insight into motivation, added conflict, or new goals and write the scene in the viewpoint of the character that has the most to risk. 8. Do not confuse emotion with sensuality. If emotions are compelling, using the full range of human feelings, the sensuality will be there. Consider each of these element as you write your novel. Each is a necessity with Love Inspired, but any editor would do handstands to find a novel that offers a compelling, poignant story. Although the first consideration is always a good realistic plot, these elements will bring you closer to getting that acceptance all authors desire. ©2000 Gail Gaymer Martin
Using Good Sense—Romance Style By Gail Gaymer Martin In any novel, but especially in romance, sensuality plays an integral part in heightening emotion, arousing readers’ senses, and drawing them into the story. In Christian romance, sensuality refers to the full use of the five senses—see, hear, smell, touch, and taste, but also the element of motion, emotional responses, and the sixth sense, intuition. Improving the use of senses means more than including all of them in the novel. It means delving more deeply into the senses in a creative way. Heightening the Sense of Sight and Sound Since sight and sound are most common, an author can bring these senses to life by using vivid and active words to describe the sensation. Often analogies—a comparison between two things with common elements—can be used to heighten the image. For example: Her smile opened like a dewy morning glory, her face radiating like the sun. Or another example: When he looked into her gentle eyes, colors like burnished leaves watched him from beneath her shapely brow. Analogies taken from nature create a more vivid picture for the reader. The sense of sound often combines an emotional response. The author can use words that are onomatopoeic—words that sound like the tone they are creating. Mingled with the music, a sound jangled Kathryn’s thoughts. The doorbell. Sometimes it combines sound and sight as in this example: Kate put the apple between her lips, near enough for Scott to hear the snap of the skin and to see a fine mist of juice spray into the air. Not every sound or sight is pleasant. For realism, the author will want to include sounds that make the reader cringe. In the sweet romance, Her Secret Longing, September Silhouette Romance release, Kathryn reacts to outside sounds. She wandered into the kitchen as a crack of lightning zigzagged across the sky followed by a resounding boom. In seconds, a siren’s wail pierced the air, sending Kathryn’s pulse on a gallop. A tornado. Making Use of Less Common Senses The senses of touch, smell, and taste are less common in most literature. But in romance, these senses can create addition sensuality. A descriptions of a touch often combines an emotional response. His lips touched hers for only a moment, yet the gentle pressure sent an electric tingle through her body. Touch can be varied, including more than the touch of the hero and heroine. As she fingered the velvety softness of the petal, the nostalgic aroma drifted upward. The sense of smell is often captured in the awareness of perfume or after shave. Her shoulder-length brown hair smelled like a summer orchard. But authors can create emotion using scents in other story elements. Notice these next examples help to bring the setting to life. Scattered raindrops hit the walkway, sending up a pungent smell of damp dust and grit. Another example is: The room smelled of dust and age, but a stronger scent of Libby’s potpourri...or her floral perfume clung to the upholstery. Many authors describe food items, but forget to include the taste element. Taste descriptions can stimulate the reader’s memory. With the first sip, her cheeks puckered at the zesty, tart tang that rolled on her tongue. Here’s a new twist on a kiss using the element of taste. Her mouth tasted sweet and cool like the cola she’d been drinking. Like the other senses, not all tastes are pleasurable. For realism, an author can include unpleasant tastes. Her stomach twisted into a tight knot, nausea rising to her throat. She swallowed. Beyond the Five Senses Motion and emotion are also vivid descriptors that heighten the reader’s pleasure. Motion helps to create a sense of action. She watched while Tommy ate her cereal with the speed of a forest fire, then jumped from the table and headed for the yard. Lovely movements can bring nostalgic images to a reader. She watched, mesmerized by a small white butterfly hovering above the blossoms. It fluttered from flower to flower before it flitted away. Motion can also create strong action, creating excitement. Like the crack of a whip, Cade bolted upward while his hand shot forward, nabbing Rachel’s arm. His firm grip startled her, and she let out a gasp. Notice the use of specific action verbs and effective analogies. Emotion itself creates sensations that are familiar to readers. Giving varied emotions to the hero and heroine helps to create compelling and real life characters. A sweet sensation waltzed the length of his arm and settled in his chest. At the other end of the spectrum, anger and frustration is a common emotion. Tears pushed at the back of her eyes, and she brushed them away with angry swipes, irritated with the unbidden emotions sweeping over her. Combing Sense Imagery Blending a variety of senses into one scene, or even one paragraph, heightens the readers’ reaction. Taste and smell can compliment the sense of sight. Lucas watched the steam curl from the cup and fill the air with a rich chocolate scent. He blew on the edge and took a careful sip, letting the warm sweetness linger on his tongue. Romance is intensified by blending sensory elements. Sound, touch, emotion creates a lasting final scene to a sweet romance. Wrapped in the music, Derek slid his hand beneath her chin and lifted her lips to his. Their mouths met, soft and eager...the kiss she knew he’d waited for a lifetime. Like two melting candles, their bodies molded into one. Warm, soft, and new. Authors can create exciting, sensuous stories by including not only the five senses, but other sensory attributes like motion and emotion. Filling a story with these vital elements will create a story that will linger in the readers’ minds and encourage them to buy your next book. © 2003 Gail Gaymer Martin
Where Do I Go From Here? Shoring Up the Sagging Middle An author gets the spark of an idea. Then the story’s black moment streaks the sky like lightning, and the poignant or exciting ending unfolds in the author’s mind. But what happens in the "sagging" middle—the fifty or eighty thousand words between the beginning and the end? This is one of the most profound and disturbing questions for every fiction writer. A Perfect Middle The middle can be defined as everything between the introduction of characters and the initial presentation of the conflict to the story’s grand finale—the dramatic climax. The middle consists of progressing scenes, each showing character change or advancing the plot, required elements for a good story. To develop the story’s core, an author creates scenes that move the story to it’s conclusion, deciding through who’s eyes each scene will be presented (POV) and making each scene more dramatic until the conclusion. Sounds simple? It isn’t. Techniques To Help the Sagging Middle Many authors have their own techniques for pumping up the middle. Depending on the genre, a writer can: keep secrets or hold back information, alternate a scene through a different point of view, replace motivation, deepen the stakes, remove a suspect, or ask "what if...." New authors sometime make the error of telling too much too soon. By holding back pieces of key information, by showing the characters angst and suffering but not relating the reason why, readers will anxiously turn pages to find out what’s wrong. The author does not have to reveal the whole secret at one time. The character can admit he made a bad judgment in someone’s character, but he doesn’t have to reveal the error resulted in jail time for himself. Releasing pieces of backstory a little at a time keeps the middle of the story a page turner. Looking at a scene through different character’s eyes can create interest and keep the middle active. The reader learns conflicting motivation and sometimes learns information needed to solve the problem while the main character is blinded to the truth. Replacing a character’s motivation is a key to a sagging middle. Having strong feelings for women’s rights, Julie works hard to earn money for the abuse clinic, but when she finds herself being abused by her husband, the charity takes on a new meaning. Deepening the character’s stakes takes another look at motivation. Take the scenario above. When Julie admitted the abuse, her husband vanishes and threatens to kill her. Using deeper stakes, the author has created an exciting life and death situation. In a mystery or suspense, an author can focus on one suspect, but if evidence proves the suspect innocent, the reader looks for a new suspect, arousing greater interest and curiosity. What If? One of the greatest tools for a sagging middle is the question, "What if?" Using this method, an author asks what if...and states an event. What if the main character’s home burns? What if he misses the train and loses the account? What if a neighbor moves in who creates new fear for the main character? The writer creates events through new character or twists of fate. Donald Maas, author and agent, suggests another technique using "what if." Each character has a personality—things they do and things they don’t do, things they believe in and things they are against. By using "what if," an author can put characters into a turmoil by causing them to do something they would never do. John fears heights. To save his friend, he must climb a mountain. Susan is always a loyal friend. She finds herself having to turn against a friend to defend herself. Each of these "what if" methods creates an exciting middle. Structuring the Middle Divide a novel into acts like a three or four act play. The first act presents the characters and introduces motivation, goal and initiates conflict. What does the character want and why? What stands in his or her way? The opening of the next act presents a deeper conflict—a struggle between characters, a character and nature or a person and his goal. The story proceeds as the characters try to overcome the conflict. Near the end of this act, the conflict is overcome or the solution looks promising, but a new problem arises—one worse than the last. Act three shows the characters working to overcome the newest problem. Again the problem may appear to be solved or near being solved, when the final conflict occurs—this one dire and seemingly impossible to resolve. The final scene shows the dramatic means by which the characters solve the problem and reach their goals. Developing the Promise Each story presents a promise to the reader, a journey from beginning to end as characters reach their goals. An author owes the reader an exciting trip whether the story is a touching romance, a thrilling suspense, or a family saga. By keeping the middle filled with purposeful events that brings the main characters closer to the goal as they fight off the perils and conflicts that surround them, the author guarantees the reader an exciting ride and a memorable story. © 2003 Gail Gaymer Martin
Want to Write? Try Your Church. By Gail Gaymer Martin Have you ever thought of being a published writer? For years I did writing for my church—things like special services, puppet scripts, and skits. I’d always dreamed of being published, so one day a few years ago, I decided to submit a manuscript of four Christmas worship services I’d written for my congregation's use. Four months later, I signed my first contract for Kneel Before the Babe. God validated and blessed my dream. My volunteer worship service writing became the catalyst for my career as a freelance writer. My submission was a matter of pulling the scripts together and formatting them on a computer. Worship services are not the only outlets for an eager, sometimes frustrated, writer. All types of writing can be found within a single congregation that can help a writer hone his skills, channel his writing, provide a welcome service to his congregation, and, best of all, use God’s gifts for His glory. The Bible reminds us, "Whatever you do, do it all for the glory of God." (1 Cor. 10:31 NIV) Church Newsletter Fiction, nonfiction, business reports, devotionals, drama, and news writing are all genres found in most home congregations. If your expertise is in nonfiction, give thought to your church newsletter or local newspapers. Articles can be submitted to these resources about upcoming events, church projects, reviews of past activities, informative articles on church history or tradition, notices on community fund-raising projects, or features on organizations and volunteers. Most newsletter staffs welcome freelance writing, and local newspapers are eager to print feature or news stories on their religion page, especially if the stories are well written and complete. Other Non-Fiction Options But, you say, news and features are not your favorite types of nonfiction writing. Then, volunteer to write a church handbook, materials for a new member packet, a set of policies for use of church facilities and equipment, the end year reports on your church’s progress, or develop a mission statement. You might even head a committee on updating your congregational constitution. Worship Services and Programs Are your interests more literary? Create worship services for special occasions: Thanksgiving, Advent, Christmas, Lent, or Easter. My second book, We Give Thanks, published by Educational Ministries, Inc., is a compilation of three services of thanksgiving. Most worship services are a combination of prayers, liturgy, responsive readings, Bible lessons, and a sermon, interspersed with hymns. Use the psalms to create responsive readings or write your own with contemporary themes. Write monologues, dialogues, Bible stories in short play form, or write your own dramas to replace a sermon. Be creative during opening announcements. Write short skits to illustrate a sermon theme or to announce a new church program or activity. Clergy welcome new ways to share the Word. Writing for Children Do you prefer writing for children? Try writing a children’s sermonette, an object lesson presented by an adult during worship or Sunday school. Children love plays. Develop a puppet ministry and write the scripts. Purchase hand puppets for use in both Sunday school and worship. They entertain old and young alike, and the scripts may be personalized to meet the needs of the congregation. Throughout the year, children’s programs are presented in churches and church schools. Write a Christmas or Easter program for the children of your congregation. After writing three or four, you might submit them for publication. Publishing houses look eagerly for these programs. Come! See the Wonder, published by Standard Publishing, is my fourth book and consists of four children’s Christmas programs for church or school. Devotionals Devotionals may be written for a newsletter or used for other special occasions. When my congregation found itself without a pastor over the Lenten season, our usual Lenten worship service became potluck meals followed by a series of devotional meditations led by lay members. Brief devotionals are also used during Advent for the lighting of the four traditional candles. The opportunities are numerous. Poetry But I’m a poet you say. Again you will find outlets for your poetic talents. Submit poems to your church newsletter or for the front of your church bulletins. Find favorite hymn tunes, now in public domain, and write your own words to fit a special occasion. I have incorporated hymn tunes with my lyrics into worship services. Ultimate Rewards Even rejections can be turned into blessings. When I received my second book rejection from Augsburg Fortress, I also received an invitation to do curriculum writing. For the past two years, I have written VBS materials for them. God provides in every way when you use His gifts. God has blessed me seven times seventy. A little more than two years ago, I began my freelance career. Now with hundreds of published articles and short stories, twenty-two novels and seven novellas later, I continue to hone my craft and continue to share my talents with churches all over the country. What better way can you use your God-given talents than to give them back to the Lord in your home church? You will use the gift that you love, gaining confidence and skill as a writer and, perhaps, preparing your writing for publication. The Bible says, "When God gives any man wealth and possessions, and enables him to enjoy them, to accept his lot and be happy in his work--this is a gift of God." (Eccl. 5:19 NIV) Gail Gaymer Martin is an award-winning novelist writing for Steeple Hill, Steeple Hill Love Inspired, and Barbour Publishing. Look for Steeple Hill’s THE CHRISTMAS KITE released November 2003
. By Gail Gaymer Martin
"Hi. How are you?" "Fine. Thanks, and you?" "I’m doing well." "Glad to hear it." Would you like to read a novel that offers this kind of dialogue? I doubt it. Dialogue is not conversation. Conversation can be boring. In a romance, as in any fiction, dialogue serves two basic purposes—to move the storyline forward by providing backstory or new information and to reflect character through attitude, speech mannerisms, and word choice. Dialogue can tell us something about the characters education, career, ethnic background, age, and place of residence. Dialogue can also help to set a mood or establish a theme. Purposes of Dialogue Chitchat is part of daily conversation, but dialogue must move the story along by filling in the blanks. In Loving Ways, Steeple Hill Love Inspired December 2003 release, here is a scene of dialogue between Annie and Ken with all action and introspection removed that gives us background information as well as insight into Annie’s character. She is the sole care-giver of her elderly, ailing father. "Living like this can’t be easy," he said. "Don’t you have any family who can help you?" "My brothers and sisters live out of town. They have families so it’s only right that I stay with Pa." "Seems you could use help. You know there’s a nursing home not too far away and--" Her fingers slipped from the glass to the table. "I couldn’t do that. It’s just not in me to...." "Look. It’s none of my business. You do what you have to do." Later in the story, we learn more about Annie and Ken’s characters through dialogue when Ken notices a water color hanging on her living room wall and realizes she painted it. Read the dialogue without the action and notice how much you learn about the characters through their words. "Annie, they’re beautiful. I had no idea you were an artist." "I wouldn’t call me an artist." "I would," he said. "Thank you." "You’re welcome. Have you painted others?" "A whole attic full." "Seriously?" "Seriously. Sailboats. Sunsets. More flowers." "You should sell them." "You mean I should rent space at a gas station like the people who sell those black-velvet paintings?" "Not quite. Look. I’m practical. Don’t forget this is a tourist town. People spend money like water when they’re on vacation, and paintings like these could sell. Once you have a reputation, who knows what they would bring in?" "I don’t think so," she said. "Look at them. They’re flawed." "Life’s flawed. That’s what makes them real." Dialogue Styles One thing that’s obvious— men and women speak differently and about different things. Men talk about sports, politics and business. Women talk about feelings and relationships. Women express their emotions. Men tend to cover them with silence or change the subject. Dialogue should reflect the way people really talk, but needs to be controlled so that it’s realistic yet purposeful. How can an author do this? First, people don’t speak in long paragraphs. Dialogue is usually broken up by interruptions by another character or by action and introspection. Sentences are not always complete or follow a logical pattern. Often dialogue is delivered in half-sentences. Responses sometimes only repeat what the other character has said. Questions are avoided by talking around the question or responding with another question. This keeps the dialogue sounding real while creating conflict and interest. It also gives the page white space which is reader friendly. "Why are you so quiet?" Sue asked. "I’m thinking," Bob said. "Thinking?" "Yes, about my business trip this weekend. I’ll have lots of free time." "Free time?" "Would you like to go with me?" he asked. "Go with you? Why?" "Well, I thought--" "You figured I’d jump at the chance to go. Well, you’re wrong." He Said. She said Look at the dialogue above. Notice the word said or asked is used only three times yet the reader knows who is speaking. Dialogue does not always need tags if the speaker is obvious. If tags are used, said and asked are the two most acceptable choices along with an occasional whispered or shouted (bellowed, cried). Most other tags (replied, inserted, responded, quipped) draw attention to themselves and are the sign of an inexperienced writer. Rather than using said or asked, an author can use an action or internal monologue and introspection. Using the lines above, notice how this makes the speaker obvious. "Go with you? Why?" She shifted closer. "Well, I thought--" You thought. I bet you did. For the first time she realized the kind of man he really was. "You figured I’d jump at the chance to go. Well, you’re wrong." Dialogue Subtext Subtext is the underlying meaning in dialogue. In real life, people often say words that have an added meaning below the obvious one. "Do you like my dress?" "The color is beautiful." The question isn’t quite answered, and the comment leaves us wondering if the person responding dislikes the dress so only comments on the color. In Loving Ways, Annie’s two sisters, Donna and Susan, arrive for their father’s funeral. Much of their conversation has subtext. Here’s an example: "I know this must be hard for you, Annie." Donna’s expression registered the first note of empathy Annie had witnessed. "You spent your life rescuing dad when no one else would." Susan snorted. "That’s because the rest of us had better sense." She glowered in Annie’s direction. "And don’t start quoting the Bible." Donna slapped her hand against the chair arm. "Susan, you don’t have to be unkind and you know the Bible makes sense. Annie did what she thought was right." She looked at Annie. "What will you do now?" "Good question. I had to quit my job when Pa got really bad, so I suppose I’ll have to find work." "We don’t want a pity party, Annie," Susan said. "You chose to stay here. As Mom always said, you made your bed and now you have to lie in it." "Donna asked the question, Susan. I’m not complaining. I’ll have to get things in order here, and then carve a new life for myself." The thought of carving something cut through Annie’s mind. Her sister’s pearl-draped throat, for one. The evil thought made her smile inside but, as quickly, caused her to send up a prayer. Patience, Lord. "When you think about it, Annie," Donna said, "you’ve had it pretty easy. No kids to worry about, no husband to please. . .or try to please." She rolled her eyes. "You didn’t even have to work the past couple of years." "I wouldn’t call that easy," Annie said. "Pa was still as tough as nails to--" "Speaking of nails," Donna said, "I haven’t had mine done in weeks." The dialogue is rich with undertones of meaning which helps to make it sound true to life. Real but purposeful Remember, making dialogue realistic is making the words work to move the story forward. Use the dialogue to reflect characterization, to arouse the reader’s curiosity, and to create conflict. Break up large pieces of dialogue with character actions and interruptions, and don’t forget internal monologue which adds the element of truth to the dialogue.
by Gail Gaymer Martin Scripture is part of any Christian fiction, but how it’s handled makes a difference between a "preachy" romance or a romance that entertains as well as witnesses to God’s love and mercy. The spiritual message may be presented in a variety of ways that allows the author to quote or paraphrase God’s Word and make it seem natural to the story. Direct Quotes The hero or heroine sitting in church and listening to the preacher is a typical way authors quote scripture. Another way is having the character use the Bible to find a passage that speaks to an issue. When the quotations become dialogue with lengthy passages, the reader feels preached at, rather than ministered to, so remember to make the passages short. It is not necessary with many publishers to list the verse notations. In this scene from Adam’s Promise, the verse notation is used in a natural way. Kate bowed her head for the prayer, her own prayers rising for strength and acceptance of God’s will. When the litany ended, Kate settled back for the scripture reading. "The Bible reading for today comes from Romans eight." As he opened the large leather Bible, Pastor Dawson’s rich voice filled the room. "Verses twenty-six and seven," he said. "In the same way, the Spirit helps us in our weakness. We do not know what we ought to pray for, but the Spirit himself intercedes for us with groans that words cannot express. In the novella, "Then Came Darkness" from Hidden Motives to be released in October by Barbour, the heroine refers to scripture during an introspective moment. When she lifted her eyes, a shaft of golden sunlight cut through the orange and mauve clouds like a heavenly promise. Gerri knew God was light, and evil was darkness. A verse came to mind, and she reached for her Bible resting on the corner of the table. She opened the pages and searched the book of St. John. Finally the words came into focus. Everyone who does evil hates the light, and will not come into the light for fear that his deeds will be exposed. But whoever lives by the truth comes into the light, so that it may be seen plainly. In this example, Gerri names the book of the Bible, but not the verses. In another scene, Gerri also sits in church, but in this scene, she does not state the verse notation. Using the scripture as she reflects is a natural way to quote the Bible. Sometimes Bible verses can be woven into the clergy’s sermon. Here in this scene, Gerri listens to the pastor and then uses introspection to apply the lesson to her own life. The service began and as she sat listening to the pastor’s message, Rich slid his hand over hers and gave it a reassuring pat. She felt anxious to tell him all that had happened, but she forced her mind to stay focused on God’s Word. "Listen to the words from Psalms," the pastor said, "and take it to heart. Sitting here today are people who are struggling with life’s problems and people who are under deep duress. Don’t think that God is not with you. The Lord is on your side. His promise is sure, as His Word says: Be still before the Lord and wait patiently for him; do not fret when men succeed in their ways, when they carry out their wicked schemes." Gerri’s chest tightened as she heard the words from Psalms that summarized all she’d been thinking the past days. She turned her attention to scripture. "But the Lord laughs at the wicked, for he knows their day is coming," the pastor said. "We are assured of God’s faithfulness." Please remember that most Christians don’t retain long Bible passages to memory nor do they use them when talking to others about the Lord or about a faith issue. If they state direct Bible passages, they are usually short verses or ones that are special and lay on their hearts. Here in a scene from novel, Out On A Limb, just released in my Michigan anthology of four complete novels. Karen makes her point in dialogue. "If we had known, we should have pleaded Psalm 79 to the Lord." Eric tilted his head. "Sorry. I don’t know Bible verses by heart." "I only remember some, but here’s the one I mean. Do not hold against us the sins of the fathers; may your mercy come quickly to meet us, for we are in desperate need." "And we were desperate," Eric said, "except you got part of that wrong." "Wrong?" "It was the sins of the grandfathers." "It was." Using scripture this way, by adding the characters application to it, gives it the feeling of Christian’s in every day life. Paraphrasing Scripture More often, Christians share and apply their faith through paraphrasing God’s Word. Though some readers enjoy the Bible verses quoted in the novel, many readers find paraphrasing less "preachy," yet the lesson still makes an impact. When paraphrasing, the author must be accurate in his or her rephrasing and the words, again, must fit into the flow of the conversation in a natural way. This scene between Karen and her grandfather from Out On A Limb is a mix of paraphrasing and quotation. "Grandpa, please. You’re a Christian, and you know better. What does God say you should do when you’re upset with a neighbor?" "Park my car in front of his roadside stand, that is if he had one." She faltered at his comment. "That’s not what God says." "Sure does. "An eye for an eye. A tooth for a tooth. So why not a parked car for a parked car." Karen shook her head. "Grandpa, you know why." She took a step backward. "Should I get my Bible?" He lowered his gaze, and her heart softened. She sensed God’s urging. Instead of huffing and puffing, she calmed herself and sat in the chair beside him. "An eye for an eye is in the Old Testament. When Jesus came to earth, he gave us some new commands to follow. I know you’ve read them. Jesus said, I know you’ve heard eye for eye and tooth for tooth, but I’m telling you that if someone strikes you on the right cheek, turn the other cheek." Her grandfather shifted his gaze from the floor as if he wanted to counter her comment, but he couldn’t debate with the Lord. Karen stared at him until he looked at her. "And you know what else the Bible says?" He shrugged. "Love your enemy and pray for him." She watched him bristle. "I can pray for him," he sputtered, "but I can’t love him." In Adam’s Promise, Kate reflects on scripture she’d heard in church when she realizes exactly what the verses mean to her life. Notice how paraphrasing seems real when it works with the character’s spiritual issues. Kate captured the thought and held it against her chest, repeating the message. The spirit felt her pain and her fears. God would be faithful to His promise to work good things in her life, so why did she continue to fear the past and worry about what people might think? God had been so faithful, so good, and Kate needed to cling to those words. Using Scripture Whether direct Bible quotes or paraphrasing, an author can make the greatest impact by allowing the scripture to work naturally into the conversation or introspection. Forced dialogue or skewed thoughts lose the reader when it seems unreal. Authors can relate to their own relationship with the Lord and note how God’s Word is part of their lives. Keep the direct verses short, use accurate paraphrases, and work them into dialogue and introspection in a "real life" way. Readers will thank you for sharing your faith, and your message will touch their hearts and spirits.
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