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I am an Acquisitions Editor for a small yet prestigious publisher, and I started this awesome blog so I can share writing tips on self-editing, publishing news, author & agent interviews, insightful posts from infamous guest bloggers, and updates on my own personal struggles to become a professional author.

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1. 8 Amazing Dialogue Tips that will Instantly Enhance Your Writing! #WriteTip

By: Sherry Soule, on 7/19/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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“Writing good dialogue is art as well as craft.” —Stephen King

This post covers how to use dialogue tags or beats correctly. I edit tons of manuscripts for fiction writers and dialogue seems the hardest for writers to write well.

Tip 1

Personally, once I get close to finishing a novel, I use a software program that reads the text aloud for me. It’s a great way to hear the rhythm and flow of your character interactions and the conversations to make sure the dialogue sounds natural. If you don’t have access to a program, which can read your text aloud for you—read it aloud to yourself. Or better yet, find someone to read it aloud to you. Trust me, it makes a huge difference in your dialogue.

What are dialogue tags?

Well, dialogue tags or saidisms are the additions to dialogue that identify the speaker. Without them, the reader would get confused as the conversations unfold, or if you have more than two characters speaking to each other within a scene. Readers need dialogue tags and saidisms that don’t distract from the narrative.

What are saidisms?

Alternative words that mean “said” that are used to indicate additional information that is not expressed through the actual dialog or in the character description.

Dialogue tags (saidisms) are simple indications that allow the reader to identify each speaker. If there are only two characters in a scene, then it is not necessary to place a tag or saidism after each line of dialogue. Occasionally, you can use the character’s unique speech patterns to distinguish which character is speaking.

Tip 2

Sometimes a writer tries to use dialogue tags to express an emotion, but I feel that is just another form of telling rather than showing.

For instance, do you think “seethed” is considered a dialogue tag?

EXAMPLE: "I said no, Tony," Amy seethed.

It looks odd, right?

Recently, I noticed "seethed" being used repeatedly as a tag in a published novel that I was reading, and each time it jarred me from the narrative. I consider seethed to be an “emotion,” and not an action or a tone of voice. I mean, you can’t “seethe” words, in my opinion. So, I thought it was an odd use within dialogue. Plus, I don't think writers should force a verb to become a tag, either.

REVISED: "I said, no Tony," Amy said, seething.

Still doesn't work for me and causes narrative distance.

BETTER?: Amy's face flushed a deep red and she stabbed a finger into his chest. "I said no, Tony."

Yeah, I like this last version best because it has a much deeper POV.

Dialogue and verbs:

My advice is not to force verbs to become shallow dialogue tags. Unlike other tags, “said” is generally invisible to readers. Also, please don’t use verbs to describe an emotion, and then try to turn it into a dialogue tag. Real people don’t frown, smirk, chuckle, sneer, hiss, seethe, pout, or frown their words. These are reactions and expressions and emotions.

BAD EXAMPLES:
He laughed, “Stop tickling me.”
“You’ll all die tonight,” Jake sneered.

"I hate you," I seethed.

"Tom is so late," Carrie pouted.

"I want more apple pie," I smirked.

GOOD EXAMPLES:
He laughed. “Stop tickling me!”
“You’ll all die tonight.” Jake sneered.

I glared at him. "I hate you."

"Tom is so late." Carrie pouted, her bottom lip sticking out.

"I want more apple pie." I smirked.

Tip 3

Current writing style guidelines prefer that all saidisms identify the character first, and then the dialogue tag. It should be written as: “Nick said” instead of “said Nick.” If you are self-publishing your work, these are the type of important writing techniques that you should keep in mind.

Tip 4

Avoid the overuse of adverbs that end in “ly” (in any part of your story). And try not to use too many “ly” adverbs such as “Max said mysteriously,” or “Ashley said wryly” in your dialogue.

Sure, a few are okay, but don’t overdo it. Why? Because these types of tags tell and don’t show, which take you out of deep POV.

Try to stick to using the general, “said / say” tags. The reader’s eyes will simply pass over it and never even realize they’ve read it.

Tip 5

While acceptable, words such as “hollered” and “bawled” and “cried” often draw their attention away from the dialogue and yank your reader out of the story.

So, in short, avoid saturating your dialogue scenes with tags such as: cried, yelled, shouted, screeched, whined, declared, questioned, demanded, roared, hissed, or breathed.

These words appear as if you have fallen in love with your thesaurus. If the dialogue is well-written, a few carefully placed tags like, “said/say” or "ask/asked"will often do just fine.

Tip 6

Also, try to avoid using too many descriptors like “yelled,” or “said angrily,” or “cried out,” as a description of the character’s emotion. The dialogue tag should allow the reader to interpret how something is being spoken without telling them. And remember that the word “said” is invisible to readers in dialogue text, while too many description tags can be off-putting to the reader.

While readers tend to read over the basic “said/say” tag, discernible attempts to insert a mixture of words such as “exclaimed,” “shouted,” or “teased,” will completely pull the reader out of the narrative.

If the writer has written skillful dialogue, then the reader is conscious that the character is exclaiming, bellowing, or mocking. The writer won’t have to include it in the saidism.

Tip 7

How to write dialogue correctly:

Dialogue is set apart or identified with quotation marks. “Words spoken.” To create realistic dialogue, it does not have to be written in complete sentences. In real life conversations, people don’t always use proper grammar, either. So make certain that your dialogue sounds like what a person would actually say in a real conversation.

Tip 8

Each character needs their own individual voice.

Please make sure that all of your characters sound differently. They should not speak the same way or sound the same.

If you’re writing a crime-drama, your vengeful, homicidal housewife should not sound the same as an alcoholic surgeon who just lost a patient on the operating table. Study current slang and modern trends. Give each character their own unique voice.

This excerpt is from my adult paranormal romance novel, IMMORTAL ECLIPSE, and it is a great example of mixing description, character reactions, a "unique voice," and emotion:

Victor smiles—a lazy smile, studded with white teeth. “Lovely evening.”

I’m reasonably sure I’m safe being alone with Victor. Sure, he’s a jerk, the type of bully who’d corner a kid on the playground, terrorize him, then later lift his palms and widen his eyes in mock innocence when the teacher challenges him. Plus, I haven’t had a chance to really interrogate him yet.

He steps closer, almost invading my personal space, eyeing the amulet resting between my breasts for a long second, before his gaze lingers on my boobs. His stare is downright creepy. There’s no way Victor thinks I’m a hottie—we can’t be less each other’s type. And the guy makes my skin crawl. But while I might not know how to handle the spooky stuff, I do know how to handle lecherous men.

“Y’know, being stalked isn’t really a big turn-on for most women.”

He doesn’t answer, just stares at my lady lumps.

“My eyes are up here, Victor.” I put a finger under his chin and tilt his head upward.

He looks down again and licks his lips.

Ewww! I flick his forehead with my index finger and thumb, making him blink sharply.

He rubs the red spot. “Hey!”

I glare. “Stop it then!”

His expression turns wolfish. “Why? Is it affecting you?”

I cross my arms. “Of course not. You’re being a pig.”

“Am I? So sorry.”

He doesn’t even have the decency to act regretful. He has that air about him that says he knows who he is and doesn’t care what anyone else thinks of him. I envy that....

* * *

As you can see from this example, dialogue scenes can advance the story and amplify the character’s personalities while providing a break from straight exposition.

Now I challenge you to try rewriting a scene in your own work-in-progress.

* * *

Also, HERE is an amazing post to read over at the Creative Penn blog on writing dialogue the right way.

And another great post that discusses proper use of dialogue tags and verbs on Palidor Media HERE.

One more great post I found on writing dialogue and verbs on Kathleen Temeans's blog HERE.

https://www.amazon.com/Writers-Guide-Authentic-Dialogue-Scenes-ebook/dp/B00FZ5HTEA

Want even more tips on how to enhance dialogue scenes? Please get a copy of my handbook, "The writer's Guide to Authentic Dialogue Scenes"

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2. 20 Tips on Using Interjections in Fiction Dialogue - #WriteTip

By: Sherry Soule, on 7/18/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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Creating realistic, natural-sounding dialogue in writing can be a difficult task for writers. Dialogue may come off as rigid and artificial. The most useful tool for creating an air of humanism in a character’s dialogue is the interjection.

An interjection is a noun (more of a sound) that stands alone in a sentence and is designed to convey the emotion of the speaker or narrator. By “stands alone,” we mean to say that an interjection is not grammatically connected to the sentence in which it is used.

Interjections are used by authors to add an element of realism to their prose, as humans often use interjections heavily within their everyday speech. Interjections are often followed by an exclamation mark, leading people to refer to them as “exclamations.”

Examples of interjections are:

“Ouch!” and “Wow!” or even “Cheers!” or "Huh?" or "Uh..."

“Wow! Your new car rocks!”

This sentence illustrates the function of an interjection. “Wow,” being the interjection, stands completely on its own, not connected to the subsequent sentence by anything other than context. As you can see, it is followed by an exclamation mark, adding excitement to the quote. You can imagine the character saying this with widened eyes and an excited tone while commenting on the massive spoon at which he is looking.

Compare this to saying, “That car rocks.”

The latter sentence is lifeless and conveys no emotion to the reader whatsoever. Interjections have the unique ability of being able to stand as sentences all on their own.

The exclamation “Whatever!” and "Shut up!"—often heard as a teenager storms out of a room—is an example of an interjection functioning as a one-word sentence.

Uh, so yeah, this section is about, um, filled pauses.

Another form of interjection that is useful for adding a humanistic element to dialogue is called the filled pause. These are used by people in, uh, well, a lot of spoken sentences. They are not necessarily “words” per se, but rather sounds that people make during pauses in speech.

The filled pause can be used to convey such character traits and emotions as nervousness, stupidity, indifference, or impatience. All an author must do is think about the sounds they themselves or others would make while in those situations. Imagine a nervous teenager asking out the prettiest girl in his high school, if you will.

“Hey, uh, Sylvia? I, um, was wondering if, uh, you would go to, like, a movie with me, or like whatever.”

Poor Patrick here has unwittingly used seven filled pauses in his attempt to ask Sylvia on a date. The filled pauses serve to efficiently convey his gut-wrenching nervousness.

Sylvia’s response? “Wow! Patrick! Of course!”

“Ha! Johnson, come over here and check out this photo!”

Using interjections and filled pauses may be effectively inserted within dialogue.

“I, uh, wouldn’t mind a job, but um, I can only work on weekends?”

Interjections are an excellent way of expressing emotion within the dialogue of your prose, but you must be careful not to overuse them. Used sparingly and appropriately, interjections can breathe a true sense of humanity into your character, giving them the sort of personality that readers can connect with on a deeper level. Take poor Patrick, for example; by the end of his painful plea, didn’t you feel at least a bit sorry for him? If you did, it’s thanks to the interjections.

(Link to SOURCE)

Short List of Interjections

Crud

Dang

Gosh

Goodness

Oops

Oh no

Ouch

Rats

Shoot

Uh-oh

Uh-huh

Yikes

Yuck

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3. FIRST SENTENCES HOOKS - Fiction Writing - #amwriting #writetip

By: Sherry Soule, on 5/23/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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Beginnings are difficult for most writers, but I’m here to help!

Just for the record: I hate beginnings. The first pages of my novels are an inexorably torment to write because I am such a perfectionist. But after numerous revisions, I am very proud of my first sentences and my opening scenes.

This post focuses on the “hook” every story needs in its opening scene. Without strong hooks, the reader has no reason to keep reading. A good “hook” can be an open-ended question, one that leaves the reader trying to decide what the main character will do next.

It seems like it would be obvious to start a story at the beginning of the character’s journey, but unfortunately, that’s usually not a good place to start. No matter what the genre is, there are most likely several other scenes that can be used as the opening scene. Find the one that will have the greatest impact on your readers. Think of your first line as a hook that lures your reader into the story. It is your big chance to be so ingenious that your readers will not be able to put your book down.

Build up the suspense from page one!

Like I said, it is important to catch your reader from the very start with a good “hook.” The key to an attention-grabbing first page is withholding as much backstory as possible while divulging enough to interest a reader. After the first page, a reader should be asking questions about the characters involved (who?), their motivations (what?), the story’s timeline and location (when and where?), and lastly the reason behind all this action (why?).

Published authors have the fortunate advantage of starting a novel or short story anyway they’d like. They’re an established name within the industry and already have an existing readership. However, if you’re an unpublished writer or if you’re planning to self-publish, things are not quite so simple, and agents and editors are not quite so tolerant or lenient. And remember that the competition is fierce.

Dream openers are cliché.

Avoid beginning your novel with a dream. This can create a very awkward beginning. Dreams in general are often seen in the work of beginning writers (it will red flag you to agents and editors) because it’s overdone. Therefore, dreams should be used with great care no matter where they happen in a story, but should neverbe used as an opening. Always attempt to open your novel with the immediate sense of the storyline.

Some skilled writing fails to connect the reader because the writer doesn’t get what the novel’s opening must do in order to hook a reader. Frequently, as I’m editing other writers, I find a gripping opening scene pages later in the story. Most often, a dump of exposition or backstory drags the story to a standstill.

For an unpublished writer, it’s absolutely essential that you grab the reader’s attention from the opener. Metaphorical hands should rise out of the first page, seize your reader by the collar, and yank them, helpless into the narrative.

This means opening with: EMOTION and ACTION and DIALOGUE.

Don’t start your story with too much description or long rants of introspection. Try to start it with an event that is actually taking place right now in the character’s life, or even better, the turning point. Your opening paragraphs should be stuffed with strong verbs and powerful nouns. The job of the opener is to draw the reader into your world with an indication of foreshadowing, upcoming conflict, or mayhem to come.

Now, ‘something actually happening’ doesn’t have to be a homicide, a violent mugging, an extraterrestrial invasion, or the epidemic of some lethal zombie virus. It could be a blackmailing scheme, or it could be a nervous and horrible first day on the job, or it could be a fierce and demonstrative custody battle in court, or even a devastating result of a medical test. It could be just about any type of inciting incident that happens to the main character and grabs the reader’s attention.

What will compel a reader to put down your book after reading the first page?

Not opening with a strong enough first sentence or that much-needed “hook” in the first paragraph to reel the reader into your world. The first sentence is essential and each should be meticulously constructed to entice the reader into needing to find out more. Readers may forgive a less than stellar first sentence; however, the first paragraph should lure them into the narrative. Don’t bore the reader with too many tedious details, long paragraphs of inner-monologue, pages of backstory, or lengthy description.

Remember, the opener needs to be fresh, original, with a great hook in the first line. Even the first paragraph. Even more than that, the first page. Each one is extremely critical and should be crafted to bait the reader into needing to find out more.

First sentences taken from my own popular novels to spark your creative muse:

BEAUTIFULLY BROKEN (book 1):

For as long as I could remember, I’d heard whispers in the shadows.

SHATTERED SILENCE (book 2):

I had always been a magnet for the strange and unusual—and socially disastrous—at my birthday parties.

MOONLIGHT MAYHEM (book 3):

My body relaxed for the first time in weeks without the fear of demon blood infecting me with Darkness.

RECKLESS REVENGE (book 4):

The worst part about being a demon hunter was the waiting.

DESTINY DISRUPTED (book 5):

There was a demon in my backyard.

IMMORTAL ECLIPSE:

At the next ominous thump, I finger the handle of the Glock 19 under my pillow.

LOST IN STARLIGHT (Volume One):

I don’t usually stalk boys, but if I hadn’t been spying on Hayden Lancaster, I never would’ve seen the mind-blowing fork-bending incident.

UNDER SUNLESS SKIES (Volume 2):

My dad just teleported into our living room.

SMASH INTO YOU:

Walking across campus alone at night was just plain dumb...and potentially dangerous.

Do you understand what I mean by a “gripping hook” in your first sentence?

Here are some more examples of enticing first sentences that will “hook” the reader:

Example 1

My uncle was murdered on Saturday, and I inherited his so-called haunted house.

Example 2

The shrill sound of the phone ringing in the middle of the night is never good sign.

Example 3

It figured that the first thing Marilyn won in her life was a prize she did not even want.

Example 4

As a groundskeeper of Pleasant Hills Cemetery, I often witness some very peculiar things.

Do any of these examples spark your own creative muse?

In each case, something is happening now, and the reader is compelled to keep reading to find out what’s going on and what’s going to happen next. The information with which many beginner writers tend to fill their opening pages (descriptions of place, character or, worst of all, too much backstory) can wait until the reader is firmly hooked.

For more tips and tools, please check out The Writer's Guide to Plotting a Novel

How many times do you revise your first line?

What are some of your favorite opening sentences?

Please let me know in the comments!

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4. Self-Publishing a Novel too Soon - #WriteTip

By: Sherry Soule, on 5/11/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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Quote: “I love the rewriting and redrafting process. Once I have a first draft, I print the whole thing out and do the first pass with handwritten notes. I write all kinds of notes in the margins and scribble and cross things out. I note down new scenes that need writing, continuity issues, problems with characters and much more. That first pass usually takes a while. Then I go back and start a major rewrite based on those notes...” —Joanna Penn, The Creative Penn blog

If you’ve finished writing a novel or short story, then congratulations! That is a huge accomplishment to be very proud of, but now comes the revision work that will really make your story shine…

When I was growing up, the only thing I ever dreamed about was being a professional author. I realize for self-published and indie authors that it’s an on-going struggle to get your books out into the world, and hopefully make some money in the process.

Like every writer, I am incredibly passionate about my work. The main reason I write is because I like to do it. Not for the money. No, because I love creating characters. I love crafting suspense. And I love telling stories—mykind of stories.

Best-selling author, Tracy Hickman was quoted as saying, “Don’t seek to be published, seek to be read.”

Simple words. Great advice. Write for your readers. Write what you love. Write every day and don’t give up.

I’ve written a lot of books. Some good, and some, well, not so good. My first three novels were traditionally published without a literary agent. And I hate to tell you that the advance was dismal and I didn’t sell as many books I’d hoped.

Looking back, I know what I did wrong. I didn’t have any critique partners. The manuscript wasn’t tightened up and polished enough. I didn’t hire a professional, freelance editor.

A first or second draft should never, ever be what a writer self-publishes. As a matter of fact, the first draft or two should be ruthlessly edited. Personally, I do at least ten or more drafts on my own fiction stories.

Please do not rush to publish your book!

If you have a slower scene that readers might think is boring, but you feel is vital to the plot, then find a way to Deepen the POV and the characterization, and also ramp up the tension.

Learn to self-edit if you can’t afford to hire a professional editor. Find a few good critique partners (and if you don’t know what this is, then that’s a red flag that you might not be ready to self-publish yet), and really take the time to study story structure.

I recommend that new writers read books in the genre that you want to write in and dissect them. Devour them. Analyze every aspect of the writing. Be patient and never stop improving your craft. As you write, and read, and study, you’ll get better at including Deep POV in earlier drafts.

Once you’ve finished the fifth draft of your manuscript, then you’re ready to use the Deep POV method. This is when you will go through each scene and find all the shallower writing and revise the heck of it.

As always, I wish everyone much success on their writing journey!

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5. Rhetorical Questions...Telling or Showing? #WriteTip

By: Sherry Soule, on 4/19/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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If deep POV is done well, then the thoughts, emotions, moods, and experiences of the character(s) are interweaved so invisibly into the scene that the reader can almost experience everything along with the narrator, rather than having it itemized or stated for them. But much too often whenever a writer wants to express some kind of emotion, like confusion or surprise in their characters, they will include several rhetorical questions.

While a rhetorical question can focus on a particular character’s inner-struggles, it should not be used instead of actually showing the characters’ emotions and/or reactions.

Rhetorical questions shouldn’t be used as a substitution for internal-dialogue or as the primary method for getting inside a character’s head. There are much more effective and subtle ways to reveal a character’s internal reaction, or wonderment, or curiosity about an event or conversation, rather than using an internal-question.

When I critique a novice writer’s work, I often find that when they want to express some kind of uncertainty or curiosity or self-doubt in a character, they will overuse rhetorical questions. These interrogatory instances are a shallow way of establishing tension, and letting the reader know an internal debate is taking place by stating the obvious. The problem is that the misuse of rhetorical questions can become intrusive if the character asks multiple questions on the same page, or every time the author wants the reader to question something along with the narrator, which can become blatantly repetitive.

While rhetorical questions can raise tension, only use them if necessary when you cannot describe the reaction any other way.

Basically, a rhetorical question can be a way of telling.

Here are a few examples that should help you revise your own writing…

SHALLOW: I looked at my best friend with anxiousness. Why was Mary so mad at me? What had I done?

DEEP POV: I stared at my BFF and chewed on my lip. For the life of me, I couldn’t understand why Mary was so pissed. I hadn’t done a damn thing!

SHALLOW: Kent went down the stairs and into the basement and looked around the room that was dimly lit. What was Harold doing in the basement? Kent wondered.

DEEP POV: Kent crept to the bottom step of the basement stairwell and squinted into the dimness. Harold was up to something and Kent was going to figure out what.

SHALLOW: I went into the house very late past my curfew. Would my mom be waiting up for me? Would I be grounded for a month? I wondered.

DEEP POV: I snuck toward the house with my heart thumping. It was way past my curfew. If my mom was waiting up, then I was gonna be grounded for a month!

SHALLOW: She’d told the wizard that she only needed one wish, but he insisted on giving her three. Why would he do that? Was this some type of trick? Rainbow pondered to herself. What would she do with three wishes now?

DEEP POV: Rainbow scratched her head. She now had three wishes to use instead only one. Yet she wasn’t sure if that was a good thing or bad. Or if it was some type of wizardly trick.

I have included a few longer examples to further illustrate my point. (In the shallow example, the questions are in italics.)

Please carefully examine these examples…

SHALLOW: I saw a ghostly shape in the doorway. I tried to hold back a silent scream as I stepped backward. Why was there paranormal activity going on in my new home? Was I being haunted by a ghost?

DEEP POV: A ghost floated in the doorway. With a silent scream stuck in my throat, I backed up into the wall. Okay, so there was some obvious paranormal activity going on in my new home. And it would seem I was being haunted by a very scary-looking ghost.

Please carefully examine these examples…

SHALLOW: Shelton had asked me a lot of dumb questions on our first date. Where better for an interior decorator to live than in one the most high-class cities in the United States? And what is it about guys that made them give the coldshoulder to a woman who says that she likes to wander around bookstores? Doesn’t anyone like to read anymore? Then he doesn’t even ask me out again! Why even ask about my hobbies if he wasn’t interested in dating me?

DEEP POV: I rolled my eyes and took another sip of wine. My first date with Shelton hadn’t gone as well as I’d hoped. All those dumb questions about why I had moved to the city, and about my hobbies, and then snubbing me for being an avid reader.

I still wasn’t sure what the point of asking me all those questions was—if the jerk wasn’t even interested in a second date!

Too many rhetorical questions can deflate the tension of the moment. Writers should revise them whenever possible so that they are not in the form of a question. One clever way to do that is, if there two or more characters in a scene, then revise some of the inner-questions into actual dialogue. And it’s an awesome way to add tension and create turn-paging prose!

Please carefully examine these examples…

SHALLOW: Damon shook his head. He deliberated to himself as he put down his keys angrily on the table. Why was Jane so insistent on going to dinner tonight? Didn’t she understand that he was exhausted after a long day at work? Would it be too much to ask for Jane to think about his needs first for a change?

DEEP POV: Damon threw his keys down onto the table with a loud clang. He was being ambushed by Jane again.

“Damn it, Jane! Why are you so insistent on going to dinner tonight? Don’t you understand that I’m exhausted after a long day at work?” Damon shook his head. “Would it be too much to ask that you put my needs first for a change?”

Were the examples helpful?

Have you read a story were the author endlessly pestered the reader with internal questions laced throughout the narrative like an interrogator?

Or writers who are trying too hard to show doubt about something that happens or they question another character’s motives?

Or even strive to be funny or colloquial by using lots of inner-questions? Or breaking the tension by inserting questions every couple of paragraphs?

Were all those questions above getting redundant?

Of course, they’re annoying!

Prose littered with rhetorical questions can be really irritating for the reader. Consider it this way: inner-questions are not realquestions, but rather a way to “tell” the reader what the character’s thought process is in the form of a question.

The exception to this guideline is when a writer wants to indicate sarcasm or humor. A few rhetorical questions laced into the narrative can really enhance a scene and strengthen a humorous “voice” when needed. And it can even be a necessity in some scenes where any other type of sentence just wouldn’t fit the moment.

There are no hard-and-fast rules regarding where or even when it’s appropriate to use a rhetorical question in your narrative. But it becomes rather clear when it’s one of the instances of telling rather than actually “showing.”

Experienced writers should understand that you need to do both, so I’m not stating that all rhetorical questions are wrong, but in my opinion they should be used with caution. And definitely don’t ask more than two rhetorical questions on the same page.

If you limit the use of internal questions and only include them on occasion, then it’s just another tool for your fiction writing toolbox.

Now I challenge writers to consider revising almost every question into showing a character’s doubt, confusion, unease, or surprise, etc., or turn it into actual dialogue whenever possible.

For more tips on ways to stay in a Deeper POV, please check out my guidebook, THE WRITER'S GUIDE TO DEEP POV, which is now on sale.

http://www.amazon.com/Writers-Guide-Deep-POV-Characters-ebook/dp/B01D93Q7WY

Tell me in the comments how you feel about internal-questions.

Do too many bother you as a reader?

Do feel that you overuse them in early drafts?

Do have clever ways of revising them when polishing your manuscript?

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6. Indie author Interview with C.S. Wilde - #indieauthor #writetip

By: Sherry Soule, on 4/15/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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Today is is my honor and pleasure to have the amazingly talented, C.S. Wilde on the blog to share with other aspiring writers her writing and editing methods. Ms. Wilde's debut novel was published this week and you can you check it out HERE

I always like to start with a little background, where were you born?

Brazil, but because I’m a child of the world I was raised tri-lingual (English, German and Portuguese). Since I haven’t lived in Brazil for a while, my Portuguese is getting rusty and that sucks.

How old were you when you realized you wanted to be a writer?

Eight.

Do you have a specific writing style?

Fast-paced conversational style, balanced sentences.

What genre are you most comfortable writing?

Fantasy/Sci-fi with touches of Romance.

How long does it take you to write a book?

On average, three months to half-a-year.

Do you have a critique partner(s)?

Yup. Eight. I call them my Brady Bunch.

Do you ever use beta readers?

Sometimes, not always.

What did your voyage from unpublished writer to published author entail?

A lot of tears and chocolate.

What were the key highlights along the way to achieving your dream?

Getting to know other authors!

When did you write your first book and how old were you? Tell us about it.

I was eight and I wrote this book about two blue macaws (Rio totally ripped me off, man). Anyway, the macaws wanted to go to the moon, so they hid in a rocket, and the book ends with them dancing happily on the moon with the Earth as background. Most of that book was hand drawn, by the way.

What was one of the most startling things you learned during your experience as an indie author?

How much work goes into marketing and the techie stuff. It’s insane.

Do you have any helpful suggestions to help struggling writers become better novelists? If so, what are they?

Learn how to make a good product. Learn about book marketing. The rest is easy.

How much editing/revision did you have to do before you felt that your MS was ready to be self-published?

A lot. I think ACOA had some twelve rounds of edits before I was happy with it.

Five rules for writing fiction that you live by?

I don’t live by any writing rule, because all of them can be broken depending on context. Look at most bestsellers: nearly all of them break the rules. Being fundamentalist about writing rules will limit you a lot. So this is what I do:

1) Learn the rules
2) Follow the rules for a while
3) See how experienced authors broke them
4) Reverse engineer the process so you can break them, too. But don’t break them all at once. Remember: balance is key.

Tell us about your newest release. How was your story birthed?

Santana has always wondered if she’d go to Hell for defending rapists and murderers. Now she’ll know.

That’s ACOA (A Courtroom of Ashes). Oh and there’s a little romance with a hot ghost dude somewhere in there.

Fun fact: the inspiration for A Courtroom of Ashes was a lawyer joke.

What was your motivation for this story?

Glory, money, and bitches. But seriously, I just wanted to tell a story people would read and enjoy.

Who came up with your book title? Was it the original title or did it change along the way?

It was originally called In Death, but then a CP said, “Nah, this title is too meh.” And then we came up with “A Courtroom of Ashes”.

What's your secret to creating a realistic character(s)?

Messing them up whenever possible.

How do you come up with your character's names?

I like old names, actually. They have a way of coming back. I just saw one story with a Martha as main character and now it’s everywhere, even in Batman vs Superman. I can’t believe that Martha is in vogue again.

Which is more difficult to write: dialogue or action (or a love scene)?

Action, by far. Because you have to juggle pace, flow, and efficient descriptions all at once.

How do your family and/or friends feel about your book or writing venture in general?

They’re really supportive. My husband is my rock. But I only show my stuff to my mom and my best friend. I guess not a lot of people in my life have read my books. And I don’t want them to. Cause then they’ll be all like, “Oooh, you wrote me here” or “Ooooh, you’re so Santana” or “Ooooh, you’re so John” and I’m like “I’m all of them, people! I’m a freaking storyteller.”

Who is your favorite author and what really excites you about their work?

That’s a tough one, but I’ll say Susanna Clarke, because she wrote a novel about magicians in the eighteenth century, and I swear it was as if Jane Austen was narrating the whole thing and it was jaw dropping. Mrs. Clarke doesn’t need to write anything ever again, because Jonathan Strange and Mr. Norrel is her masterpiece and there’s no way she or anyone, ever, can top that book.

Other than writing, what are some of your interests, hobbies, or passions in life?

Skiing, yoga, and watching movies with mah boo.

What was the last amazing book you read? (What did you enjoy about it?)

Super Sad True Love Story by Gary Shteyngart, because it sticks with you.

Where is your favorite place to read? Do you have a cozy corner or special reading spot?

Nah, I can read anywhere.

Tell us a little about your next book.

James Bauman fell hard for his co-worker, Miriam Haworth. It was something that was just like boson particles or his father’s talent for baking apple strudels. But will he fight for her once he finds out she’s not from this world?

BOOK BLURB:
Santana Jones never thought she’d fall in love with a dead guy, but that was before she met John Braver, the incredibly charming and incredibly dead politician on the other side of her mirror.

When an evil spirit drags Santana’s soul across the mirror and into Purgatory, she’ll need all the help she can get to return to her body. With John by her side, nothing can go wrong. But Purgatory is a dangerous place for a lawyer with a pitch-black past. Santana has always wondered if she’d go to Hell for defending rapists and murderers.
Now she’ll know.

AUTHOR BIO:

C.S. Wilde is just another author, here to entertain you. She writes about fantastical worlds, love stories larger than life and epic battles. She also, quite obviously, sucks at writing an author bio. She finds it awkward that she must write this in the third person, and hopes you won’t notice.

Places you can visit her online:

Amazon Author Profile

Twitter - @thatcswilde

Facebook

Goodreads

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7. Crafting Vivid Settings and Character Descriptions - #WriteTip

By: Sherry Soule, on 4/6/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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http://www.amazon.com/Writers-Guide-Vivid-Settings-Characters-ebook/dp/B00F8LDYVI

If you’ve finished writing a novel or short story, then congratulations! That is a huge accomplishment to be very proud of, but now comes the revision work that will really make your story shine…

No matter what genre you write, fiction writers should learn how to craft descriptions like a seasoned pro. World-building isn’t easy, but creating original depictions of characters, locations, weather, and mood can greatly enhance anyone’s writing.

Evocative settings are more effective and compelling when they’re visible, auditory, olfactory, and tactile. And character descriptions are much more visual and lifelike when they have unique physical attributes.

That’s why sensory details can enhance any setting through the descriptive use of smells, colors, textures, sounds, and the sense of touch/feel. A descriptive writer can trigger in the reader any of the five senses with evocative specifics.

I have recently expanded and updated my guidebook on writing description, "The Writer's Guide to Vivid Settings and Characters" which will instantly help writers create dramatic scenes. Also, it illustrates how to craft a distinct and realistic world filled with three-dimensional characters, vivid locations, and naturalistic weather. Plus, it now includes a super handy thesaurus that has wordlists on ways to describe colors, weather, a character's hair and clothing, seasons, and so much more!

Throughout this new guide, writers will learn how they can use the five senses to arouse the reader’s own senses of sight, touch, hear, smell, taste, and even feel. And I illustrate ways a writer of any genre can revise description info-dumps to establish a mood that harmonizes nicely with the novel’s storyline, and even how to craft unique descriptions of characters, locations, and climate.

Each chapter provides specific, practical tools to help make writing descriptions and crafting three-dimensional characters simple and fun, with plenty of illustrations to highlight each point.

The most important writing tools that I provide in the updated and expanded book are:

* The importance of using sensory details
* To expertly master showing vs. telling
* The impact setting can have on a story
* To effectively describe vivid characters
* How adding color and weather will strengthen description

Any fiction writer who has taken a creative writing course, or received a professional edit on their manuscript, or worked with a critique partner has undoubtedly heard these three words: show, don’t tell.

In my very humble opinion, I believe that fiction is mostly about establishing a visceral, emotional connection between the character(s) and the reader. Two ways to do this is to have a strong “suspension of disbelief” within the storyline by ensuring the plot is plausible, and even more importantly, by showing instead of telling.

One of the best ways to do this is to use a Deeper POV, which in most cases creates vibrant and dramatic images within the reader’s mind that deeply immerses them in your fictional world.

Every writer has their strengths and weaknesses. Personally, I love writing descriptions of places, buildings, characters, and objects in great detail. I have fun finding new ways to add color and realism and the five senses to most of my scenes. But the majority of writers that I’ve worked with forget to include any details regarding the setting. While I’m reading and critiquing their work, I’m not connecting to the characters or the story, if I can’t envision where a character is in a scene or their surroundings.

Description isn’t optional in fiction. Every scene should include some details pertaining to the character’s environment.

For instance, if a new scene starts with two characters talking, but there’s no mention where the scene takes place or where the characters are, then it leaves me with a weak visual. Writers don’t need to go into too much detail, but some is helpful in order to cement the scene and keep the characters from seeming as though they’re just floating around in space instead of being firmly anchored to the fictional world where they exist.

I believe that if you make your settings original, they’ll propel your story forward, infuse your fictional world with mood and atmosphere, and add the powerful flavor of emotion that agents/editors demand and readers enjoy.

Writers should want readers to experience the story through the senses of their characters. And by engaging the five senses, it helps readers connect more closely with the character’s experience. Shallow sentences with filter words will have the opposite effect.

Please compare these descriptive examples…

SHALLOW: I touched the dress to feel the fabric.
SHOWING: My fingers caressed the silky fabric.

Notice the difference between the shallow description and the more vivid “showing” one?

If you’re going to describe how something tastes, sounds and looks, then you can leave out how it feels and smells. You never want to assault your reader’s senses, or they will skip ahead to get back to the action.

Please compare the next two examples (I have underlined what I consider to be filtering references that create narrative distance)…

SHALLOW:
When Scott heard the growling sound, he looked down and saw a large dog blocking the trail. He knew it would attack if he moved. Scott felt a sense of terror build in his heart.

SHOWING:
Scott halted at the warning growl. Standing in front of him was a large dog, flashing its teeth. He stifled the girlish shriek that leaked from his lips with one hand. His heart jackhammered in his chest as he took a stumbling step backward.

In the second example, you can imagine much more vividly the dog and Scott’s emotional response.

Throughout this awesome new and improved guidebook, I’ll be discussing how writers can enhance elements of a story by incorporating a description of the locations, landscapes, and the characters in each scene. And I offer several simple techniques for creating sensory details to enhance the world-building.

For more tools and tips on writing awesome descriptions, please check out my book!

Learn to Describe a Realistic Setting with Atmospheric Detail and Create Vivid Characters!

No matter what genre you write, fiction writers will learn how to craft descriptions like a seasoned pro. World-building isn’t easy, but creating original depictions of characters, locations, weather, and mood can greatly enhance anyone’s writing.

Evocative settings are more effective and compelling when they’re visible, auditory, olfactory, and tactile. And character descriptions are much more visual and lifelike when they have unique physical attributes. This valuable reference and descriptive thesaurus offers writers a simplified way to depict vibrant settings and dynamic character descriptions flawlessly.

Each chapter provides specific, practical tools to help make writing descriptions and crafting three-dimensional characters simple and fun, with plenty of illustrations to highlight each point. This in-depth guidebook should be kept as a vital reference in every writer’s toolbox.

Are you ready to take your writing skills to the next level?

Please click here to start reading now...

*If you've purchased an eBook copy before April 2016 and you would like the expanded and updated edition, please email the receipt Amazon (or other online retailer) sent you to me: EMAIL. Please mention which portable reading device you own, and I will email you the eBook format suitable for that reader within 48 hours.

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8. When to "Tell" in Fitction - #writetip

By: Sherry Soule, on 3/26/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Deep POV, Editing and Revision, Add a tag

While there are a lot of writing blogs and professional editors that offer advice on showing vs. telling, most of them don't explain when to "tell" and not show in writing...

The contrasts between showing vs. telling:

Telling is when a writer provides the reader with direct facts, or explains a situation, or offers important information in relation to the storyline in a straightforward manner. This approach is considered passive writing that summarizes events that aren’t really significant to the plot, but they are necessary to fill in plot holes or get the info across quickly to keep the story moving forward.

In general, telling requires using fewer words to convey details, but those sentences should still be written with “voice.” (I go into much more detail about character “voice” and a writer’s narrative style in book two, “The Writer’s Guide to Deep POV,” if you’re interested.)

Also, telling is kind of an old-fashioned way of storytelling. Although, recently I read three traditionally published authors that still do way too much telling with info-dumps that made me put the book down while yawning, and then pick up a different novel…

Showing is sensationalizing and digging deeper. It vividly conveys more of a visual for the reader through visceral, impactful, and evocative writing that allows them to effortlessly imagine the story-world, as well as the characters you’ve created. A deeper POV is considered active writing, but it is typically more wordy and descriptive.

Also, (showing) Deep POV relates to almost every sentence in a story, and can be conveyed through the author’s language, syntax, and word choices. When writing in Deeper POV, everything that happens in a scene is processed in a unique way by that character, so even the narrative (telling) must have “voice.”

I know some of you are asking: So when is it okay to just tell the reader something?

While there are many different methods to showing in writing, there are just as many reasons to tell when needed.

Showing vs. telling is all about balance.

To me personally, showing is used when a writer wants a Deeper POV, and telling is needed when the reader requires certain information pertaining to the timeline or plot. Telling is for informing the reader in a passive way, like giving them the bare bones.

For instance, whenever the writer gives the reader information in a direct manner, it is considered telling. But it can also make the reader feel somewhat removed from the immediate experience of the moment.

In spite of that, if a writer showed everything, then it would cause a lot of overwriting and major pacing issues within the manuscript. Some parts of a story are so inconsequential that writers might want the reader to known a fact or small detail, without going into too much description. If the details or facts are only supplemental to the scene, then it’s perfectly okay to just tell the reader. Because if a writer were to show every single thing, then the reader would consider the scene padded.

So when should a writer "tell" the reader something? Well, here's one good reason...

When a writer wants to convey the passage of time to the reader, it is much quicker to just state that a few days have passed or even months. However, a writer should still show it through “voice.”

In my novel, LOST IN STARLIGHT, I wanted to skip the duller parts of the story whenever the main character was in school, so I summarized when required.

Let’s take a look at one example…

EXAMPLE: My afternoon classes zoom by like movie trailers. And then the theater goes dark right before the film starts, and mercifully the last bell rings. I’m finally free.

Did you grasp how I showed the passing of time?

The short paragraph lets the reader know that school has ended without a long info-dump of shallower writing.

And there’s nothing wrong with telling in early drafts of a manuscript. Most writers do it because the important thing is to get the story written, and then go back and fill in any plot holes. Using Deep POV comes later, after five or six drafts are finished, when it’s time to dig deeper in some scenes and revise the characterization. There is no need to stop writing the first or second draft to include carefully detailed descriptions or a Deeper POV. That can wait.

There are no hard-and-fast rules when it comes to showing vs. telling, but a few instances would be when....

For more tips on Deep POV (showing vs. telling) I recommend reading my expanded and recently updated book, "The Writer's Guide to Character Emotion"

The Best Method to Creating Realistic Character Expression and Emotion

*Amazon Bestseller in Editing, Writing & Reference*

Most writers struggle with creating a captivating story. The fastest way to improve your writing is by the use of the “Deep Point-of-View” technique, which can transform any novel from mediocre storytelling into riveting prose. This handbook is great for self-published authors, short story writers, and even published authors wanting to instantly enhance their writing skills.

This manual will also explain how you can greatly enhance your characterization by eliminating filtering words, and includes hundreds of amazing tips on how to submerge your readers so deeply into any scene that they will experience the story along with your characters. Also, learn how to avoid “telling” by applying “showing” methods through powerful examples that will deepen the reader’s experience through vivid, sensory details.

Ready to take your writing skills to the next level?

Please Click Here for More Information...

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9. The Writer's Guide to Deep POV - #writetip - Character Emotion - Learn 3 Simple Ways to Dig Deeper!

By: Sherry Soule, on 3/21/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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As requested from so many writers, I have written this companion book to my bestselling, “The Writer’s Guide to Character Emotion.” This manual covers a whole new set of topics and provides step-by-step methods to deep editing techniques that will create gripping page-turners.

Writers will learn how to create realistic dialogue, vivid settings and character descriptions, along with a strong, unique voice. Additionally, this handbook expands on how to master describing emotions, body language, and strengthen characterization with simple ways that writers can easily and quickly apply to their own writing.

Here is an excerpt from the new guidebook...

Quote: “Place matters to me. Invented places matter more.” —bestselling author, Alice Hoffman

Deeper POV removes bland storytelling by including sensory details and cranks it up a notch. It pulls readers deeply into the heads and hearts of our characters by allowing the story to be seen, experienced, and felt through the close-and-personal POV of the character.

If done correctly, Deep POV rids a story of unneeded phrases like he thought, he knew, he heard, he smelled, he felt (when it applies to emotions), he wondered, he saw that cause author intrusion. (Reminder: it is always okay to use shallow “telling” words in dialogue.)

Another huge advantage of applying the Deep POV method to your writing is offering the reader direct access to the character’s moods, emotions, and perceptions. A character needs the ability to describe what she/he experiences as it occurs.

The most obvious way of telling and the number one red flag is to state the emotion or reaction. A better way is to show them through facial expressions, internal-monologues, and body language.

Please carefully compare these examples…

SHALLOW: The smell was awful and made me feel sick.

DEEP POV: I covered my nose and tried not to gag at the offensive stench.

Remember that “stating the emotion or reaction” for a reader is telling. The correct way is to show by describing what is unfolding in every scene by the use of action, “voice,” dialogue, facial expressions, and the five senses, etc.

Writers can tell a reader that when Harry steps into the kitchen, he notices a stinky smell, but it is much more creative to show. Sometimes showing is more descriptive and wordy than just stating the facts, but where’s the fun in that, right?

Please examine these examples (I have underlined what I consider to be shallower writing.)…

SHALLOW:
When Harry went into the kitchen, he noticed there was a stinky smell coming from the sink. He realized that it was apparent that no one had washed the dishes in a very long time.

Sure, the shallow example gets to the point and states the facts, but let’s be honest, it’s bland and flat. Now compare this one written in Deeper POV.

DEEP POV:
The second Harry stepped through the kitchen doorway, a raucous odor wafted from the sink and made his nose wrinkle. “Gross! When was the last time anyone cleaned the dishes?”

The second example was more impactful, right?

Showing (Deep POV) makes your readers become even more emotionally invested in your wonderful story. One way to do that is for writers to use specific words to describe how things smell, how certain foods taste, how objects feel, how the setting sounds, and looks through your character’s eyes.

Generally, telling doesn’t produce a strong enough picture in the reader’s mind, and it often causes author intrusion, which reminds readers that they are reading a story—and that’s not something a writer ever wants.

Please study this example, where the sentence is telling…

SHALLOW: Caleb felt hot in his wool coat.

That sentence isn’t an image the reader can easily imagine. It’s an ambiguous fact.

DEEP POV: Caleb swiped a bead of sweat from his forehead and shrugged off his heavy winter coat.

Now ask yourself: which description was more visual?

The revised Deep POV sentence puts a very powerful illustration in the reader’s mind.

Now, I’m not suggesting that a writer show or describe everything in great detail because that would be overwriting and create pacing issues. The key is to understand the difference so writers can intelligently decide when to use Deep POV and when to just tell. Finding a balance is necessary.

For more amazing tips and tools to enhance your manuscript, please read this expanded edition...

The Fastest Way to Improve Dialogue, Settings, and Characterization

No matter what genre you write, this second manual on the Deep Point of View technique should be kept as a vital reference in every writer’s toolbox. This in-depth guide offers specific, practical tools for creative fiction writers on how to craft realistic settings, visceral responses, and lifelike characters.

Crammed with even more examples and ways to eliminate shallow writing, this book provides the necessary techniques to master describing facial expressions, body language, and character emotions. This resource of endless inspiration will reveal how to dig deeper to “show don’t tell,” which is essential to crafting compelling dialogue, vivid scenes, and deepening characterization.

Learn to write:

Realistic settings through sensory details
Three-dimensional characters
Memorable “Voice”
Authentic facial expressions
Engaging dialogue

Bestselling author, S. A. Soule shares her expertise with writers by providing surefire, simple methods of getting readers so emotionally invested in their stories that booklovers will be flipping the pages to find out what happens next.

Are you ready to start instantly improving your writing skills today?

Please scroll up and click the buy button now

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10. WRITING CRAFT: THREE WAYS TO END A HORROR STORY - #WriteTip

By: Sherry Soule, on 2/26/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
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You've created a suspenseful beginning and a terrifying middle for your story - now what?

Choose from one of these three endings.

1. The hero defeats the monster. This is satisfying for novels and long stories as well as genre-crossing pieces. Give it depth by involving a loss or sacrifice, e.g. the hero's mate dies.

2. The monster defeats the hero. This works well in short stories, for extreme horror fiction and for heroes who deserve punishment.

3. The hero defeats the monster, but... This makes a story memorable. You can have fun coming up with a “but” to surprise or shock your readers: The monster's big brother is still alive. The monster's mate swears vengeance. The hero regrets killing the monster. The hero metamorphoses into the monster's successor. The alleged hero is the real monster while the alleged monster was a brave rebel who sacrificed himself.

Once the reader has seen the monster, keeping the fear-level high is difficult, but you can increase the emotional tension.

Avoid anticlimactic endings in which the danger is revealed to be non-existent: The monster turns out to be the hero's long-lost loving mother, a pet dog or a friendly alien, or the dangerous situation was only a simulation exercise, a computer game or a dream.

Although I've used the male pronoun in this article, the hero and the monster can of course be female, male, human, animal, paranormal, alien or anything else you choose.

Questions?

If you're a reader or writer and want to discuss horror story endings, please leave a comment. I'll be around and will reply. I love answering questions.

ABOUT RAYNE HALL

Rayne Hall has published more than forty books under different pen names with different publishers in different genres, mostly fantasy, horror and non-fiction. Recent books include Storm Dancer (dark epic fantasy novel), 13 British Horror Stories, Six Scary Tales Vol 1, 2 and 3 (mild horror stories), Six Historical Tales (short stories), Six Quirky Tales (humorous fantasy stories), Writing Fight Scenes, The World-Loss Diet, Writing about Villainsand Writing Scary Scenes (instructions for authors).

She holds a college degree in publishing management and a masters degree in creative writing. Currently, she edits the Ten Tales series of multi-author short story anthologies: Bites: Ten Tales of Vampires, Haunted: Ten Tales of Ghosts, Scared: Ten Tales of Horror, Cutlass: Ten Tales of Pirates, Beltane: Ten Tales of Witchcraft, Spells: Ten Tales of Magic, Undead: Ten Tales of Zombies and more.

Rayne has lived in Germany, China, Mongolia and Nepal and has now settled in a small dilapidated town of former Victorian grandeur on the south coast of England.

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11. Need a critique partner and writing buddy!

By: Sherry Soule, on 2/22/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: critique partner wanted, critique partners, Add a tag

Hello fellow indie authors!

I am looking for an experienced critique partner to exchange chapters with weekly long-term. Preferably someone who's at the same writing level as myself. I have a few wonderful CPs, but they work full-time jobs and exchanges can be super slow.

So I would love to find another writer or two, who has more availability, and who works from home and is writing full-time like me. ;D

Right now, I am mainly seeking a CP, who is a fellow indie author or is planning to self-publish. If you have serious writing goals for 2016, PLEASE contact me. We can keep each other motivated, as well as support each other's careers.

About me: I have been published traditionally (under a different pen name), and by an Indie press, and I have self-published several novels and lots of non-fiction titles. If you want to check out writing style to see if we're compatible, you can visit these sites:

Amazon Profile: http://www.amazon.com/Sherry-Soule/e/B0104Y33KK
Blog: http://sherrysoule.blogspot.com/
Wattpad: https://www.wattpad.com/user/sherry_soule

The best part of having a CP is that you have someone to share the crazy ups and downs of the publishing world with. Someone to cheer you on when you get discouraged, or cry with over a bad review. A writer friend who you can chat with about the creative writing process when your non-writer friends just don't get it.

Love this post on CPs: http://cindythomasbooks.blogspot.com/2012/05/what-is-critique-partner.html

And my blog has a post on finding a CP if anyone else needs one: http://fictionwritingtools.blogspot.com/2015/05/15-tips-on-finding-great-critique.html

If you work from home and/or write full-time, then please leave a comment or PM me if you're interested in discussing the possibility of becoming critique partners.

Sincerely,
~Sherry

I wish everyone much success in their writing journey.

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12. 3 Tips on Writing a Compelling Blurb for a Box-Set or Book Bundle

By: Sherry Soule, on 1/4/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: book blurbs, Book marketing, Add a tag

Today’s post is advice on how to write an engaging book blurb for your box-set. I scrolled through Amazon reading some of the blurbs and I found my eyes skimming over these super long blurbs that covered each book.

In my opinion, if the back jacket copy is too extensive and wordy, even if the author includes a blurb for each book, it is going to make a potential reader’s eyes glaze over. It is like information overload.

The blurb is just a “hook” to encourage your readers to want to read your book and/or find out more without giving away too much of the plot. Remember that a blurb is just a teaser and does not need to include every plot point or mention every character.

All book blurbs should be under 200 words and only highlight the main conflict, the stakes, setting, genre, and mood. Including too many plot details or background info can bore your reader or confuse them about what the book is about. They should be concise yet compelling. Too wordy or rambling and potential reader might look for another book.

For example, this is the marketing copy for two of the books in my own bundle:

http://www.amazon.com/Volumes-Spellbound-Prodigies-Box-Books-ebook/dp/B00T8L8PUY/ref=asap_bc?ie=UTF8

Books One & Two of the Bestselling Spellbound Prodigies Series

Read the first two installments of Shiloh’s harrowing journey into a magical world filled with supernatural creatures, dangerous magic, and haunting romance.

Box Set includes: BEAUTIFULLY BROKEN and SHATTERED SILENCE

Shiloh Trudell isn’t like other sixteen-year-old girls. She’s a heritage witch with psychic powers, who can communicate with the dead. So when she takes a summer job at the haunted Craven Manor, her life takes a frightening turn after she encounters a ghost with a sinister agenda.

What’s even more dangerous than her new profession as a demon hunter is the sexy new hottie in town whose emerald-green eyes and crooked smile causes her heart to skip a beat. Shiloh can’t seem to ignore her inexplicable attraction to the drool-worthy Trent Donovan, even when she’s got bigger problems to deal with. . . Like discovering who put a supernatural hit list on the other teenagers in town.

Between dating the hottest guy in town, fending off soul-sucking demons, and studying magick, Shiloh finds herself on the verge of uncovering a shocking secret that the others in town have vowed to protect.

But will exposing this secret come at a deadly price?

Scroll Up and Click "Buy" now to Instantly Download These Amazing Stories!

As you can see, it is short and to the point. It covers the setting, premise, and conflict. It has a few tropes and gets right to the heart of what a reader can expect from these paranormal romance series.

All stories share these important elements in common: A character who wants something, but something stands in her/his way, so she/he struggles against that force, and either succeeds or fails.

So when you're trying to write a book blurb for a longer series, it seems natural to include every blurb in the product description. My advise is NOT to do that. Just write a longer summary which pertains to the series as a whole and extend it to 300 to 400 words to include the conflict, theme, character goals, obstacles standing in the hero's way, the bad guy (unless the plot is man vs. himself, than include the character's fatal flaw), and what's at stake for the hero.

Let me put it this way, if someone asks you what the series is about, what do you say? How do you summarize the entire series?

Write a short outline detailing your series, and then turn it into marketing copy. Don't lose sales or potential readers by having a blurb that is too long and rambling and overly wordy. You only need to lure them into reading the excerpt and then clicking on that "buy" button...

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13. The Indie Author Journey

By: Sherry Soule, on 1/2/2016
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Indie Authors, Add a tag

When I was growing up, the only thing I ever dreamed about was being a professional writer. Today Amazon sent me an email inviting me to create an author page. This probably sounds lame to some people, but it’s an exciting step to me. My own official author page!

I realize for self-published and indie authors that it’s an on-going struggle to get your books out into the world, and hopefully make some money in the process.

Writing has always been my true passion. This was what I wanted to do with my life. I wanted to publish novels. I dreamed of being a professional author since I was seven years old, and I enjoy writing both adult and young adult tales.

Best-selling author, Tracy Hickman was quoted as saying, “Don’t seek to be published, seek to be read.”

Simple words. Great advice. It made so much sense. Write for your readers. Write what you love. Write every day and don’t give up.

Our dreams should give us wings. Let us fly. Soar above the clouds. And we should never, ever have to look down. Right?

Being a voracious reader all of my life, I believe my writing style differs from the other young adult paranormals being published; because my stories tend to have elements of chilling suspense weaved into the plot. Nor are my stories always focused primarily on “love.” But there is a lot of kissing!

Yet I do write about people who fall in love under unusual circumstances. Not because I like a conventional happy ending—no, I write about love because I believe it’s the strongest human emotion we possess. And sometimes my character’s choices don’t get them a happy ending. Sometimes the endings are surprising. Sometimes bittersweet. Sometimes they end with a cliffhanger. But I hope they are never boring or too predictable.

How did I start?

Well, like I said, I’ve been writing since I was seven. I’ve written a lot of books over the years. Yeah, a lot of bad books, too. I went to college, but mostly took creative writing and English classes. I couldn’t go full-time because I had a family to look after, but I did take various writing courses for the past ten years.

To be honest, I’ve tried three times in my life to find a literary agent, aka the gatekeepers to the publishing world, without success. I’ve even had a few prominent agencies request my work. Looking back, I know what I did wrong. I didn’t have any critique partners. The manuscript wasn’t tightened up and polished. I didn’t hire a freelance editor. I thought it was good. Well, it sucked. Hence, the multiple rejections. Which also sucked.

I’d like to think I’ve learned a lot since then. I hope I have.

The turning point in my life came when, like so many people across the United States, I lost my job. I feel into a deep, dark depression. To escape my utter hopelessness and to be productive, I decided to try writing again. I rewrote an old story that I still believed in, but knew it still needed some major revision. Maybe this was a sign from God to try to get published after all these years. I wrote every day for months, then started query agents and editors again. No luck. More rejections.

I worked part-time and kept writing. I started editing a manuscript that I wrote about nine years ago called, “IMMORTAL ECLIPSE.” I did some freelance developmental editing to pay the rent. Then I was laid off again and after a few months, my unemployment ended. I was scared. No job. No money in my checking account and my savings account had been closed by my bank. Zero funds.

Time to freak out. I was a single mother with two young children to support. But no way to support them. Then I discovered that my seven-year-old daughter was diagnosed with a severe and very rare disease. The medical bills began to mount up. I needed money.

In my heart, I still didn’t want to give up on my dream. It was all I had left to encourage me…

Once I gave up the idea of a book deal with a New York publishing house and finding an über agent that loved my work, I decided to look into indie publishers. Then I read about Amanda Hocking’s success story on her blog. I was impressed and awed. She had taken a chance, so I decided to self-publish one of my early novels. First, I talked it over with my family—who agreed. I had nothing to lose. And since I was out of a job, I had time to promote my work.

Then some of my family members announced that they wanted to start an online publishing company. And guess what? I was the first to sign with them. Sure, they’re small but everyone has to start somewhere. So, they didn’t mind when I wanted to hire my own cover artist. (Do not be naïve—book covers sell books. Well, that and good writing.)

Going Indie is a scary endeavor. On occasion things don’t work out. Books don’t sell. The genre dead ends. Bad timing. Worse luck.

But indie authors can find a small amount of success due to the book blogging community, which is so incredibly supportive. And I sincerely thank the book reviewers who have embraced and heartily praised my novels.

Although, I may never reach the success of other self-published or indie authors, I won’t look back at my life someday with regret. At least I’ll know I tried, and that’s something, right? You only fail if you never try…

“If you’re waiting for the universe to provide for you, I’ve got a feeling you’re going to wait a long time. If you know what you want, then my advice is to confidently take the necessary steps and go get it.” – Bryan Hutchinson

So, now I need to get back to editing and writing new stories. No reason to let these manuscripts sit on my hard-drive. Maybe someone will enjoy reading them. Maybe not. Maybe I’ll keep dreaming and hoping, and someday those hopes and dreams will come true. Maybe not.

But what good are dreams if you don’t try to make them come true? What good is trying to follow your heart if those aspirations can’t be turned into reality?

Never let someone else put limits on your goals or hinder your dreams. I know, I won’t…

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14. 4 Guaranteed Things to Try If You’re Book Are Sales Are Down - Book Promotion Part 14

By: Sherry Soule, on 12/22/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Add a tag

Here are four guaranteed things to try if you’re book are sales are down or they have completely stopped. Or if you’ve just published your first book.

And they really do work!

One of the best things about being an indie author or self-published writer is that anytime you want to change something, you can. You can test out different marketing promos, prices, and even book cover designs.

Here is a list of four quick and easy things to do if you want to reach your target readership and increase book sales.

1 ) The Cover is like the illustrated summary of your story that attracts the reader.

The design needs to reveal to the reader the genre and tone of the book at a glance. It should grab them immediately. But most importantly, it should be genre specific to attract the target audience for your book.

Self-published writers do not have huge marketing departments backing them like traditional authors do, so please consider giving your book the best chance of piquing a reader’s interest by having a design that “fits” the genre.

The book cover is only packaging. It’s like an advertisement or stop sign. It’s main purpose is to attract readers and get them enticed enough to read the blurb and excerpt. That’s it.

Most writers will have a cover designed to their specifications without researching the trends on book covers in their genre. To effectively market a product (and yes, your book is a product) I suggest that authors study their competition and get a “genre specific” cover to ensure success.

So the first thing to try is a new book cover to see if that helps sales.

Browse my huge selection of premade eBook covers HERE

2) The blurb (back jacket copy) should be a teaser with a powerful “hook” that lures the reader to want to buy your book.

Consider how readers look for books. They browse through lists of novels, looking at the cover art and titles, and then the price and often the star rating. Then if those things have grabbed their interest, they scroll down the page and read the book description.

This is the most critical point in the process for a potential reader. This is when they need to become intrigued, or hooked, into deciding that they must have this book. If they don’t, they click the back button and start looking for another book. And you’ve lost a sale, and possibly a long-time fan and reader, forever.

Whether you plan to self-publish or work with a publisher, it’s crucial to know how to create an appealing blurb for your book—one that’s compelling enough to entice a reader into buying your book.

If you’re a writer who has trouble creating a strong blurb for your work, please consider hiring someone to help. You can try Fiverr, or search for marketing copywriters.

More on my awesome blurb writing services HERE

3) The Sample (opening scene) is an important part of getting your potential buyer to click on the “buy” button.

For a sample to get the reader to buy your book, the opener must have three things: Conflict, action, and empathy.

Without strong hooks, the reader has no reason to keep reading. A good “hook” can be an open-ended question, one that leaves the reader trying to decide what the main character will do next.

Published authors have the fortunate advantage of starting a novel or short story anyway they’d like. They’re an established name within the industry and already have an existing readership. However, if you’re an newbie writer and you’re planning to self-publish, things are not quite so simple, and agents and editors are not quite so tolerant or lenient. And remember that the competition is fierce.

If you’re not sure your opening is strong enough, please consider hiring an editor to critique your first chapter.

More on my first chapter editing services HERE

4) Pricing a book is vital to getting a reader to take a chance on your book by purchasing a copy.

Your first book, or the first in a series should be the loss leader. The price should be between $0.99 to $2.99, especially for a first book. The idea is to get the reader hooked on your writing style, and then raise the price for all your other books. Lowering the price will make potential readers more likely to buy your book and take a chance on an unknown author.

According to the Smashwords survey, it seems that $2.99 to $3.99 are the sweet spots of fiction eBook pricing.

While pricing for nonfiction can be slightly higher, I suggest keeping the eBook under $6.99. The number of pages should impact the price.

I realize that you worked hard on your book and spent money on the cover design and editing, but to become more visible and market your work effectively, one of your books should become a loss leader. Readers seeing an eBook priced at $8.99 by an author they’ve never heard of, will most likely keep looking, and buy a book at a much lower price from someone else.

Once a writer has built a loyal readership and a huge fanbase, then they can raise the prices of their books.

Want more tips on how to boost your book sales within 30 days or less? Read this amazing eBook HERE

This concludes my advice, and I sincerely hope it helps you sell more book!

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15. 3 Surefire Ways to Start Selling More Books within 30 Days - Part 11 - #IndieAuthor #SelfPubbed

By: Sherry Soule, on 11/14/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, book cover, Author promotion, Add a tag

The perfect book cover can mean the difference between mediocre sales to hitting the top 100 bestseller lists on Amazon.

Quote: "Book covers are EXTREMELY important. The original cover of Elemental came off as very paranormal romance-y. And, unfortunately, it attracted readers who were avid paranormal romance fans. Many of them responded negatively to being surprised with a space opera with very little romance. A cover is a form of communication. It has to pique the interest of your target audience. If you pique the interest of someone who isn’t going to like what’s inside the book, you’ve just wasted your time." - bestselling Author, Emily White (LOVE her cover on the left-side)

As a writer, your job is tell a great story, but I find that when it comes to fiction marketing or book cover design, some authors don't take the same time to study it, the same as they would if they were researching aspects of their latest book.

Frustrated with low book sales?

It could a number of things, including your current cover design.

The cover should instantly let readers identify the genre, and if it catches their attention, then they will most likely read the back jacket copy and reviews, and buy the book.

But if your design is misleading, or doesn’t represent the genre, or looks unprofessional, it will almost certainly have readers skipping your book and clicking on someone else’s novel.

I know what you’re thinking…the book design shouldn’t matter. It’s what inside that counts. And maybe that’s true...

However, as an indie author the odds are stacked against you. Self-published writers do not have huge marketing departments backing them, so please consider giving your book the best chance of piquing a reader’s interest by having a design that “fits” the genre.

Sales for my own YA paranormal romance series, Spellbound had drastically declined. Each of the covers in my series had a different image and design, and it was confusing readers. I couldn't afford to hire another designer, so I decided to create my own covers and see if new branding would help boost sales. Within three weeks, my sales tripled. Then I redid the designs on all of my book covers, and again my sales jumped.

I honestly believe that book covers do help sell books!

It is NOT cliché to have a cover that represents your genre. It is an savvy marketing choice to allow readers to instantly recognize the genre of your amazing story. Many self-published authors believe a false assumption that covers should be unusual and distinctive, which is extremely risky.

Misinformed self-published writers who don’t understand the purpose of the design will make fatal mistakes in cover art selections. I'm not saying your book has to be identical, but a design should be similar to others in the same genre.

(*The covers on the left-side are published novels and I created similar designs to match the genre and as an example of design trends.)

Whatever genre you write in, I suggest studying the book covers of the bestsellers. There are trends in designs for a reason because a reader can tell at a glance what type of book it is, so I recommend having a cover similar to what is popular. It is a smart marketing strategy and guaranteed to get you results.

If your goal is to sell more novels, market your work, and appear professional—with an amazing book cover you can attain all three objectives!

The majority of self-published bestsellers all have great cover designs that correspond with the genre that they write in, and you should do the same.

For example if your book is a thriller, then study the cover art of the bestsellers in that genre.

Did you notice that all the bestsellers in "mystery / thriller" have a similar look to them?

Really look at the fonts. They are all huge and bold and eye-catching. Study the colors used. These designs all share a washed-out look.

(*The covers on the left-side are published novels and I created similar designs to match the genre and as an example of design trends.)

Again, I know what you're thinking (because I used to think the same thing) that you want your design to "stand-out" or be unique. But professional book designers will all agree that it is better to have a cover that fits the genre than be different.

If your book is a New Adult Romance, browse the most popular books on places like goodreads.

Do you notice how all the covers appear to follow the same design "look"?

Readers of New Adult fiction can tell at a glance that these books are in the same genre. I recommend using the same types of fonts and colors that match the bestselling designs for whatever genre you write in, or if you're buying premade covers.

Even my own New Adult College Romance cover below matches the trend in NA designs.

http://www.amazon.com/SMASH-INTO-YOU-Romance-Sorority-ebook/dp/B00Z7CJ2DM/ref=asap_bc?ie=UTF8

If your genre is paranormal romance, I suggest you take a good look at the designs of the bestsellers:

Did you see how all of these PNR covers have a similar design?

Take a good long look. All of these awesome book covers below convey the genre at a glance.

(*The covers on the left-side are published novels and I created similar designs to match the genre and as an example of design trends.)

The book cover I designed below fits the PNR genre with a moon, blue color, and a spooky vibe.

So choose a design that fits the genre, and the book cover will easily and effortlessly do some of the marketing for you. Having a design that doesn’t match the genre will not only impede sales, it’s essential for success. And that is your goal, right? RIGHT!

Also, it is a general advertising principle that having a face and/or people on a product (the cover) will generate more sales. The model on your cover doesn't need to look exactly like your hero or heroine, but just enough so the reader can form their own image of your characters in their mind.

(*The covers on the left-side are published novels and I created similar designs to match the genre and as an example of design trends.)

As always, I wish everyone much success on their writing journey!

Cheers,

Sherry Soule

READ MORE TIPS ON HOW TO SELL MORE BOOKS!

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16. 8 Great Tips on Book Promotion from Author Marilyn Vix - #bookmarketing #indieauthor

By: Sherry Soule, on 10/30/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, Author promotion, Add a tag

Today it is my honor to have the talented author, Marilyn Vix on the blog today to share her savvy advice on author branding and marketing a fiction novel.

What genre(s) do you write?
Paranormal and Erotic Romance

How are you currently marketing your book(s)?
They are available on Amazon, and distributed through Smashwords to Barnes and Noble, Kobo, and iTunes.

Which social media do you use the most and why?
I promote a lot on Facebook and Twitter. I’ve done blog tours and release parties on Facebook.

How much time each day or week do you spend marketing your work? 1-2 hours daily

What do you think are the best ways for a writer to promote themselves? Finding ways to reach out to your readers. I’ve found that blog tours and Facebook events help generate a lot of traffic. Plus, I organize a multi-author blog tour annually around Halloween.

How do you obtain book reviews?
Blog tours and Facebook parties usually get me a few reviews each time I have one.

Do you read reviews posted on places like Amazon or Goodreads?
Yes. I’ve written reviews for books I’ve read on both websites.

How do you react and respond to negative reviews?
It’s taken a little while to get over the 1 star reviews. I’ve grown a thick skin. I’ve seen some negative reviews maybe spur people to read some of my erotic shorts. But the most bothersome are the 1 star trolls that do thousands of 1 star ratings on Goodreads. I saw one account with over 14,000 1 star reviews hit all of my erotic shorts with one stars. I know Goodreads is trying to crack down on these trolls, but it still seems silly to have done it in the first place. I just keep thinking, don’t they have better things to do?

Do you participate in blog hops or book blog tours?
Yes. Whenever I have a new book release, I try to do one.

Do you ever offer guest posts for book bloggers?
Yes, during blog tours most of the time.

Do you ever give your book(s) away for free in giveaways or contests? Did it generate any sales?

Yes. I try it a lot with Kindle Unlimited. It even generates reviews a lot of the time.

Have you enrolled any of your titles in Amazon’s KDP select? (What was your experience?)
Yes. I was doing well until the switch over to KU2 where you’re paid per page. I’m getting far less money, about 75% less. My stories are shorter, so I need more people to read them to generate the amount of sales. So, I’ve been trying to promote them a lot and write lots more.

Do you think book trailers help promote authors?
I think they make better teasers during blog tours and Facebook parties.

How important do you think book covers are in the success of a novel?
Very important. I think it is the thing that catches the eye of the reader first. I have my covers done by professional cover designers.

Which media outlets do you think deliver the most power for book promotion?
Facebook for interaction.

If you had one piece of advice for an author promoting a book, what would it be?

Don’t give up, and try lots of different things that work for you.

Website/Blog: http://marilynvix.com

Facebook: https://www.facebook.com/marilyn.vix

Twitter: https://twitter.com/MarilynVix

Goodreads: https://www.goodreads.com/author/show/7340842.Marilyn_Vix

Amazon profile: http://www.amazon.com/Marilyn-Vix/e/B00LZ1TTX

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17. Find Young Adult Book Bloggers to Review Your Novel - Book Promotion - Part 10 - #indieauthor #bookmarketing

By: Sherry Soule, on 10/30/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, Author promotion, Add a tag

This post is mainly for young adult authors, but whatever genre you write in these tips can help.

If a writer just puts keywords like: "young adult blogger" or "young adult reviews" or "young adult paranormal blogger" into a search engine, they'll find a lot bloggers to contact.

And another way is to search for other authors whose work is similar to yours and find book bloggers that enjoyed those novels and contact them. If these reviewers likes those types of stories and genre, then it’s a safe bet that they’ll love your story, too.

Here are a few book blogger/reviewer directories to use:

http://yabookblogdirectory.blogspot.com/p/ya-book-blogger-list.html

http://yabookblogdirectory.blogspot.com

https://bookbloggerdirectory.wordpress.com/young-adult-book-blogs/ya-general-fiction/ya-general-fiction-a-l

http://yablogosphere.blogspot.com/

http://www.ebookreaderbuzz.com/2012/01/young-adult-book-bloggers-directory.html

http://www.bloggeries.com/literary_blogs/young_adult_childrens/http://kidlitosphere.org/bloggers/

These blog posts should help, too.

7 Tips on Getting Book Reviews: http://fictionwritingtools.blogspot.com/2015/07/8-tips-on-book-promotion-and-getting.html

5 Amazing Tips on Author Promotion and Book Marketing: http://fictionwritingtools.blogspot.com/2015/03/book-promotion-and-marketing-part-2.html

4 Ways to Successfully Get Book Reviews: http://fictionwritingtools.blogspot.com/2015/03/4-ways-to-successfully-get-book-reviews.html

Marketing Your Young Adult Novel: http://fictionwritingtools.blogspot.com
/2015/10/marketing-your-young-adult-novel.html

18 Great Tips on Book Promotion: http://fictionwritingtools.blogspot.com/2015/06/16-great-tips-on-book-promotion.html

50 Writing Resources: http://fictionwritingtools.blogspot.com/p/resources.html

http://www.amazon.com/How-Market-Your-Fiction-Right-ebook/dp/B00LWTCTX4

I also have a short "how to" book on successfully contacting bloggers and reviewers and how to format an email request letter: http://www.amazon.com/How-Market-Your-Fiction-Right-ebook/dp/B00LWTCTX4

Hope this info helps you to find success!

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18. 5 Tips on Genre Trends in Book Cover Design to Help Writers Sell More Books! #bookcover #indieauthor

By: Sherry Soule, on 10/26/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, book cover, Indie Authors, Add a tag

Over the years, I’ve definitely made my fair share of mistakes as a self-published writer and indie author. Although, I'd hired talented book cover designers, I didn’t bother to do any research. I just told the designer what I wanted without spending anytime studying the market, or other books in my genre. I should've checked the bestseller lists and taken a closer look at my competition. My book covers were amazing, but they didn't quite fit the trends in design at that time.

For example, I write young adult novels in both the paranormal romance and science fiction genres. When those novels were first published, I didn't take the time do any marketing research. Big mistake! My books just weren't selling as much I'd hoped until I changed my covers to designs that better matched the genres trending, and within six weeks my sales tripled.

As you can see from the examples below, it is smart to have a cover that matches the genre and follows the trends of other book covers. (However, make sure your cover is not too similar. It should still have it's own unique design.)

Lately, I've noticed a lot of really ugly, amateurish looking book covers that were clearly DIY. (Sometimes I really want to contact these authors and offer them a free design, but I'm afraid that would be rude!) That’s one reason why I decided to start creating inexpensive book covers for indie authors on a budget.

My designs, SwoonWorthy Book Covers, are affordable, and look much more professional than most DIY covers. And I’m also willing to the lower the price for authors who can’t afford the $59.99, but desperately need a new cover. I have about 200 covers for $39.99 or less, and some covers as low as $9.99. Plus, I even give away a book cover or two every month.

Nowadays, self-published authors must wear many hats, like becoming a marketing expert. A book cover (packaging) is important. A lot of writers think the book cover design doesn’t matter, but it does have a huge impact on reaching the right readership and expressing the genre.

If you're not sure if your book cover fits your genre, like I've mentioned in other posts, I suggest studying the design trends on the bestsellers lists and visit goodreads and browse through the book covers in whichever genre and sub-genres that you write in.

For example, if you write legal thrillers, do a search to see what's trending and get a cover that reader's expect to see in that genre. However, you don't want to have the exact same cover as another author, but I think something similar would be a savvy marketing choice like in the examples below:

If your book isn’t selling and you’ve been promoting it for months and the reviews are decent, but sales are still dragging, then it might be time to replace your cover. Even with something standard that resembles the genre that you write.

Check out these book cover examples below:

Some articles online I recently found were actually shaming book cover designs that were too similar. These blog posts are misleading to indie authors based on an incorrect assumption that covers need to be completely original and unpredictable. A book cover just needs to look professional, with fonts and colors that match the general design standards for that genre, and let readers immediately know the basic category of the novel. A successful book cover should also be similar to other bestsellers in the same genre. It is that simple!

All of my eBook cover creations will produce interest and anticipation in potential readers, and give them an impression of your amazing story. And most writers will agree that books with a striking cover generally sell more copies.

Notice a similar look in the examples below? I have studied the trends and designed covers that match the genre and the most popular books on the bestseller lists, so anyone purchasing my premade covers will have a greater chance at success.

I try my best to create unique and compelling covers that will attract readers. If you're just starting out and you can't afford an expensive graphic artist, but you need a book cover that looks professional and gives the reader an intriguing hint about your story, then please contact me.

Or maybe your book sales are down and you just want to experiment with a different cover, but don't want to spend hundreds of dollars on a new design. Then I suggest that you purchase one of my eye-catching premade eBook covers and test it out. By simply updating a cover design, most writers can go from selling five copies a day to over a hundred. It worked for me!

As always, I wish everyone much success on their writing journey.

Cheers,

Sherry Soule

For a limited time these $19.99 covers are FREE!

Click on this link for details: http://bookcover-designs.blogspot.com/p/huge-premade-ebook-cover-design-sale.html

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19. Marketing Your Young Adult Novel - #writetip #bookmarketing #indieauthors

By: Sherry Soule, on 10/19/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, Add a tag

Want to build your email list? Market your newest publication?

The most reliable way to succeed as an author is to build up an email list of fans. You want to attract readers to your website, and hopefully get them to sign up to your email list. (If you have no idea what to offer, watch this video).

But that can't happen unless your readers are finding your site. There are two easy ways to get more traffic. The first is by posting a lot of key-word rich content on your website (here's another video about that). The other is to post content on other high-traffic blogs in a similar field and get backlinks. That tells Google your site is relevant.

That's why people do author interviews or blog tours: even if readers don't see the content, Google finds the links and will identify a "blog network" around a specific topic. The more links you have from similar blogs in your field, the better you will rank in Google.

Guest posting is ideal, if you pick very clever article titles that appeal to your target readers, but I want to start out by doing something super easy.

So I've set up "author interview" forms on three of my websites. All you have to do is fill in the form and submit the info (it'll take 10 minutes). I'll post it as a blog post with a live link back to your website. There are 741 of you, so this is the fastest way to give a quick boost in traffic to everybody. (Plus, having that much related content on the same site will bring more traffic to each interview).

Also, I can help you find other authors writing similar YA books that you can team up with. Meanwhile, I'll be building up the traffic and SEO of these sites by doing guest posts and author interviews myself (which will increase the power of the links back to your site).

Here are the three blogs I'll be using to build a powerful blog network around YA fiction. They don't have much content yet, but I'm going to build them quickly and then start posting regularly. (You can pick one or do an interview for all three if applicable).

www.edwardcullensucks.com

For Paranormal Romance

Click here to submit an author interview

www.urbanepics.com

For Urban Fantasy

Click here to submit an author interview

www.offtheshelf.info

General YA book review site

Click here to submit an author interview

So basically, my plan is to keep growing traffic on these sites with lots of great content that attracts YA readers, and letting you post on these sites for a boost in visibility and more traffic on your own site.

If you want to help that process, you can add any of these links to your sidebar. Most bloggers have a "friends" or "recommended sites" section there. Or, you can wait until your author interviews are posted and then share those.

Thanks,
Derek Murphy

I'm a designer, writer and fine artist working on my PhD in Literature. My wife and I travel full-time and love history, adventure, and luxury. I mostly help writers publish better books, but also share tips, strategies and resources to help creative people turn their passions into full-time businesses, make a bigger impact, and blaze a luminous trail of creative independence.

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Website

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20. 4 Surefire Ways to Boost Book Sales & Giveaway - #IndieAuthor #SelfPubbed

By: Sherry Soule, on 10/9/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: book cover, Do book covers sell books?, Add a tag

The perfect book cover can mean the difference between mediocre sales to hitting the top 100 bestseller lists on Amazon.

Frustrated with low book sales?

It could a number of things, including your current cover design.

The cover should instantly let readers identify the genre, and if it catches their attention, then they will most likely read the back jacket copy and reviews, and buy the book.

But if your design is misleading, or doesn’t represent the genre, or looks unprofessional, it will almost certainly have readers skipping your book and clicking on someone else’s novel.

I know what you’re thinking…the book design shouldn’t matter. It’s what inside that counts. And maybe that’s true.

However, as an indie author the odds are stacked against you. Self-published writers do not have huge marketing departments backing them, so please consider giving your book the best chance of piquing a reader’s interest by having a design that “fits” the genre.

I honestly believe that book covers do help sell books!

It is NOT cliché to have a cover that represents your genre. In my opinion, it is an savvy marketing choice to allow readers to instantly recognize the genre of your amazing story. Many self-published authors believe a false assumption that covers should be unusual and distinctive, which is extremely risky. Misinformed self-published writers who don’t understand the purpose of the design will make fatal mistakes in cover art selections. I'm not saying your book has to be identical, but a design should be similar to others in the same genre.

Whatever genre you write in, I suggest studying the book covers of the bestsellers. There are trends in designs for a reason because a reader can tell at a glance what type of book it is, so I recommend having a cover similar to what is popular. It is a smart marketing strategy and guaranteed to get you results.

If your goal is to sell more novels, market your work, and appear professional—with an amazing book cover you can attain all three objectives!

The majority of self-published bestsellers all have great cover designs that correspond with the genre that they write in, and you should do the same. For example if your book is a thriller, then study the cover art of the bestsellers in that genre.

Did you notice that all the bestsellers in "mystery / thriller" have a similar look to them?

Really look at the fonts. They are all huge and bold and eye-catching. Study the colors used. These designs all share a washed-out look.

Again, I know what you're thinking (because I used to think the same thing) that you want your design to "stand-out" or be unique. But professional book designers will all agree that it is better to have a cover that fits the genre than be different.

If your book is a New Adult Romance, browse the most popular books on places like goodreads.

Do you notice how all the covers appear to follow the same design "look"?

Readers of New Adult fiction can tell at a glance that these books are in the same genre. I recommend using the same types of fonts and colors that match the bestselling designs for whatever genre you write in, or if you're buying premade covers.

Even my own New Adult College Romance cover below matches the trend in NA designs.

If your genre is paranormal romance, I suggest you take a good look at the designs of the bestsellers:

Did you see how all of these PNR covers have a similar design?

Take a good long look. All of these awesome book covers convey the genre at a glance. The book cover I designed below fits the PNR genre with a moon, blue color, and a spooky vibe.

And that is your goal, right? RIGHT!

PREMADE EBOOK COVER DESIGN GIVEAWAY

a Rafflecopter giveaway

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21. 15 THINGS THAT WILL KEEP ME FROM BUYING YOUR BOOK

By: Sherry Soule, on 7/27/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Biggest Mistakes Writers Make, First Chapters, Add a tag

Now I’m not saying that doing these things are automatically wrong, but why hurt your chances of getting a book sale or scaring off potential readers?

These are all first chapter blunders that will probably turn-off readers right away.

1) The opener has long blocks of straight narration and it is all in italics.

Reading italics is hard on the eyes. Short sections are fine, but pages and pages are difficult to read in my opinion. If I open the “Look Inside” feature of your book on Amazon and see text in thick blocks without much white space in italics, then I’m most likely not going to buy your book. I’m going to buy someone else’s novel.

Maybe you figured since it was a flashback that the scene needs to be in italics. It doesn’t. Maybe it is a prologue, so you wanted to make that clear to the reader. Don’t put it in italics. Maybe you thought it would look cool if the font was all in italics. It doesn’t.

I’ve worked with some amazing professional editors, like the talented Rochelle French, over the years and it helped me learn and grow as a writer. Rochelle gave me this same advice once. Now I’m sharing it with you.

2) Your opener reads like a prologue.

While a first chapter should have some suspense, foreshadowing, and tension, the problem is that why should the reader care about these characters if they already know the bad thing that’s going to happen to them? Readers are just meeting your characters for the first time and they haven’t yet formed a connection with them. So they might not care if your hero will be abducted by aliens , or he is going to lose his job, or he is about to be hit by a car.

It is true that the opener should start with some tension and action, but first I would offer the reader a glimpse of the characters “normal world” before you have them run into a burning building. That way, the reader cares if they make it out alive.

Don’t cheat your readers out of solving the mystery or telling them all the bad stuff that’s going to happen to the character(s) in the opener. To me, that’s like a huge SPOILER ALERT. Why should I spend my time and money on your book if I already know that the character will die or something else terrible is going to happen?

My advice is to “hint” at all the bad coming your character’s way. BUT please don’t tell me about it. Don’t dump it out in the opener. Leave a trail of mysterious breadcrumbs for me to follow.

3) There are no excerpts on your blog, or, website, or wattpad, or on Amazon.

If I discover a new writer, I want to read a sample of their work. Writers, please, do yourself a favor and post them EVERYWHERE. Give readers a glimpse of your awesome story and reel them in. Then make sure the purchase links are in plain sight, because if your excerpt is awesome, I don’t want to waste my time trying to figure out where to buy it. I want to start reading. Now.

Make certain your excerpt is either the opener (you don’t need to post the entire first chapter) or some super intriguing scene that will immediately grab the reader’s interest. And make it a cliffhanger. Yes, a huge, exciting, I-gotta-know-what-happens-next cliffhanger. Get them to buy the book.

4) All backstory. Nothing happens, but a long info-dump of setup aka backstory.

The main rule of first chapter writing, is do not include backstory!

Why it is not needed…

Because I don’t know your characters. I haven’t meet them yet, so I don’t care that he/she lived on a farm and had a broken arm at age seven. I could care less if they’re an ex-cop who’s been divorced three times with five kids to support.

All I care about is what is happening NOW. Not what happened two years ago.

In order to get readers to care about the character and his/her backstory is to get them interested in what’s actually happening in the story now. Our job as writers is to convince readers that this story is worthy of their time and money.

One way to do that is to pretend that the reader already knows as much about these characters as you do, then indicate some important event and fascinating occurrence happened previously.

You’ll make readers naturally curious to know how your characters ended up in this particular situation with whatever specific burden of emotional baggage they’re lugging around.

You have an entire novel to include snippets of backstory into your character’s past. There is a time and place for backstory. The first chapter is not the time, nor the place.

5) No “Voice” in the opener.

Even if nothing much is really happening in your opener, if the “voice” is well-written, then I’ll keep reading.

Just as everyone has their own characteristic way of speaking or expressing themselves, a writer’s characters should also have a distinctive “voice” that clearly comes across in the narrative.

Interesting characters with interesting “voices” can draw a reader into a story without any big event taking place. Their unique view of the world can set them apart from other books in your genre.

Besides all the other key ingredients a writer needs to have in their opener, “voice” is among the most vital. Spend some time getting to know your characters. Fill out character interviews and/or profiles to gain insight into their personalities, then let that shine through in your narrative.

6) No hint of conflict or “hook” moment within the opening scene.

In the first chapter, I like a hint at the dilemma. I want some foreshadowing on the problems that the main character is going to have to face throughout the storyline. I want to know that there are going to be obstacles in his/her way from the get-go.

That is a major mistake that a lot of new writers make. They fall in love with their characters and coddle them. Please don’t. You can love ’em to pieces, but make their lives VERY difficult. Everybody has ups and downs. Good days and bad ones.

Add some conflict and tension in your first chapter. Then hint at more bad things to come for this character.

This leads into the next thing your opener needs…

7) A huge turn-off for me is a character without a goal.

The “passive character” to me is one without any motivation of goals. These types just drift through scenes without any real connection to events or happenings.

The “passive character” is one that does nothing to solve the mystery or stop the killer. They observe the story rather than experience it, which creates narrative distance. And a writer NEVER wants that to happen.

The easiest fix is to give your main character(s) goals throughout the narrative to try to obtain. In the first chapter, have your character either mention a goal or actually show he/she trying to achieve one. The main characters need a clear goal. But again, don't make it too easy.

For example, your character is thirsty (motivation). She/he needs a glass of water (goal), so they go into the kitchen to get a drink. But when they turn on the facet, no water comes out (conflict). Now they have a dilemma and a problem to solve. It turns out that when she/he turns on the TV that the Earth’s water supply has mysteriously vanished overnight (foreshadowing). End chapter.

The reader is intrigued now. They’ll keep reading to find out the “whys” and “hows” of this weirdness, and most importantly, how this will affect the character’s own life.

8) First impressions really do matter.

Ever been on a blind date, or met someone in person for the first time? Your immediate reaction to someone has to do with a lot of different factors. Your instant like or dislike of them can be judgy, but we all do it unconsciously.

The first time I meet your characters, I need to either like them or empathize with them right away. (This also ties in closely with number 5: “voice.”)

If your character is uninteresting or blandly written, I might not keep reading. If he’s a major jerk who kicks puppies and pushes old ladies into the street, I might not keep reading. (Although, I may wonder why they’re such a douchebag.)

And avoid making him/her too perfect (Mary-Sue types) or without any real flaws. Real people have character flaws, and bad or annoying habits. Everyone has some emotional baggage.

Try to make your character seem as “real” as possible. Give the reader a peek at their interests or hobbies or personality tics. Give them phobias or quirks from the start. Create interesting characters that will attract your potential readership.

For example, your character suffers from obsessive-compulsive disorder that alienates nearly everyone with whom he interacts with on a daily basis. He even has such strange quirks that he avoids stepping on sidewalk cracks while walking through town due to a superstition of bad luck. Yet his OCD gets overlooked once he befriends a small dog. (Yeah, this was borrowed from a movie.)

Unique or "real-to-life" characters and “voice” will always grab a reader and yank them into your story-world from page one.

9) First line is weak and boring.

The first sentence matters. I don’t care what other editors or writers say. Deny it all you want, but an amazing first line is like a promise of good things to come.

For me personally, if the first sentence (and paragraph) has a great "hook," I will buy the book 9 out of 10 times.

I always read Amazon's "Look Inside" feature to inspect the first sentence and page of any novel before I buy it. I purchase 99% of my books from Amazon, but if it doesn’t engage me within first page, then I won't buy it.

Rewrite that first sentence like a “pitch” that will make your book the next NY Times bestseller. Make it clever. Make it emotionally-driven. Make it powerful enough that reader has no choice but to keep reading.

10) Nothing happens in the first five pages. No action.

Engaging the reader’s curiosity is the number one thing that the first chapter MUST do above all else.

An interesting event must grasp the reader’s attention from page one. This can be an extraordinary location, a distinctive “voice,” a shocking incident, lots of interesting dialogue, or a hint of conflict. The point is to seize the reader’s attention quickly. You only have one or two pages before the reader tosses your book aside and buys the next one.

There's no need for heart-pounding action. But do make certain that the characters don’t give anything away yet. Have them doing SOMETHING. Add some action and conflict from page one.

For example, the character is about to take their driving test (interesting event). He/she is nervous because without a license (motivation), they can’t get a job delivering pizzas. They desperately need this second job to help pay for medication (goal) that their sickly child needs to live.

In the example, the character is doing something—taking a driver’s test. So it gives the reader action, along with the other necessary ingredients, like a goal and motivation, and even potential conflict if they fail this test.

11) No dialogue. Only introspection.

Huge sections of introspection or description are boring. Sure, internal-monologues give insight into characterization and your character’s thought-process, but without action and dialogue thrown into the mix, it’s a total snooze-fest.

When I open a book and see nothing but long chunks of text without much “white space,” I already know that nothing is happening. It’s either all backstory or introspection.

Your first chapter doesn’t have to be exciting, or even have a thrilling car chase, but have you’re characters doing something, and get them talking. Fast.

Personally, I love dialogue. The more you have in your book, the more insight I’ll gain about your lovely characters. The more engaged I’ll become. Dialogue moves a plot forward immediately and creates lots of white space.

While the characters are yakking, have them doing something so they’re not just “talking heads” floating around in space. Even if they’re just walking their dog while chatting with their BFF over what a slut Amy Waltburg is for stealing her boyfriend, you have an interesting opener.

Make the dialogue short and snappy. Don’t let characters ramble on or give long speeches. Have them talk about things significant to the plot, or have it reveal characterization. Leave out the small talk and “As you know…” snippets. Have the characters discuss a problem or hint at one in the coming chapters.

This will also help with any pacing issues.

12) There is no inciting incident that rocks the main character's world.

Give the reader an enigma to unravel. The plot, the events unfolding within the first chapter, should give the reader an immediate mystery to solve, something to feel anxious about, something to flip the page.

The “incident” doesn’t need to be earth-shattering. But include something that either hints at a disastrous event to come, or have something actually happen that upsets the character’s world.

It could be as simple as a phone ringing in the middle of the night, the character gets mugged, or he/she stubbles across a lost child and offers to help them find their mommy.

Now, you could save the “life-changing event” until chapter two or three; however, you still need something that happens to indicate that this character’s nice and quiet life is about to get turned upside down and flipped inside out.

Which brings me to my next point…

13) No unanswered questions.

Each chapter (scene) should either create unanswered questions within the reader’s mind or have a whole new set of questions. It’s an integral human psychological need to want to find out the why in a story. Unanswered questions do that for you.

For example, your character is in the Witness Protection Program, but the writer doesn’t include “why” this character is in it within the first chapter. That automatically creates questions in the reader. (That’s a good reason to leave out the backstory, too.)

Did they witness a crime? Testify against a drug lord? Rat out their bank robbing buddies as a plea bargain?

Or maybe drop some titillating hints at some dark and sordid past. For example, your character doesn’t want anyone to know whythey moved to this small town, or why he/she only leave the house after sundown.

Make those questions juicy. Mesmerizing. Attention-grabbing. In other words, make the reader feel like they just HAVE to know what happens next, or why the character acts a certain way, or what circumstances lead them to having all this crazy emotional baggage, or what secret they're trying so desperately to keep hidden.

14) The first chapter is 30 pages or longer. Or way too short.

Chapter length is a debatable among most writers. I think genre has a big impact on chapter length. Personally, I like them shorter because it feels as though the story moves at a faster pace.

A good rule is to keep each chapter under 10 to 15 double-spaced pages. Keep your first chapter short. Keep it engaging. Make it a teaser. Don’t give any key plot points away just yet. Create those must-know unanswered questions.

You need a find a balance. Too short and the reader doesn’t have time to care about your characters enough to keep reading. Too long and it obviously needs trimming.

Start with your character doing something. Add in some spicy dialogue. Hint at some foreshadowing. Include some characterization. Make sure the scene has some conflict or tension. Have lots of answered questions. Then leave it on a page-turning cliffhanger.

15) No mention of where or when this story takes place.

If I read your opener and it doesn’t give me any idea what year it is or the location, I won’t connect with the setting or circumstances. All scenes need time-makers.

Just a short sentence or two is all you need.

Some genres, like science fiction and high-fantasy, needs lots of world-building to set the scene. Just try not to go overboard with the description. The best way to include the setting and location is to have your characters interact with it and incorporate a few of the five senses.

For example:

Holly pushed open the solid oak door and stepped into her childhood bedroom. It had been years since she’d been back to her hometown of Livermore. She’d missed this warm California weather since she had moved to Seattle in 2010.

Light blue striped wallpaper with posters of rock bands covered the walls. A plush azure rug and two overstuffed armchairs flanked a dank fireplace. A queen-sized bed, draped with a sheer curtain dominated the room. The scent of lilacs drifted in the air. She moved further into the space and heaved a sigh.

Out the single window, the melancholy song of a Blue Jay filled her ears. Holly leaned a hip against the bulky dresser. Her hand lightly trailed the dust coating its smooth surface and she wiped her fingers off on her jeans. Tears spilled from her big brown eyes. Her heart ached with guilt. This was the last place she’d seen her father, before she’d stormed out the front door twenty years ago.

***

Explanations of events are much more dramatic if your characters are directly involved and experiencing them along with the reader. Readers may skim long pages of description; however, if it is slipped in as part of the action, then it is absorbed by the reader almost without being noticed, and enhances the scene. Always try to mix description with dialogue, actions, and the reactions of your characters. Try to include the year, place, and five senses in your opener.

***

What about an opener will turn you off as a reader?

What grabs your attention about a story right away?

What other mistakes do you feel writers make in their first chapters?

Let me know your thoughts in the comments!

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22. Plotting A Fiction Novel Basics - #WriteTip

By: Sherry Soule, on 7/17/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Add a tag

If you’ve never written a chapter-by-chapter or scene-by-scene outline, then this post should really help. It is important to make sure that each scene in your novel has a vital reason for being there. It must reveal at least two of these elements: character motivation, goal, conflict, characterization, or new information. Basically, a scene must propel the story forward in some way. So if the scene has conflict and reveals new information pertaining to the plot, the scene has a vital purpose. Not every scene needs tension or conflict. Slower scenes that show characterization or the character's growth ARC are needed, too.

So this is a very basic overview of how you can evaluate every scene / chapter in your novel to make sure the plot stays on course.
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Scene Goals

Every chapter must involve the goal and motivation of the characters in that scene. Whether it’s your protagonist or the villain, their internal and external goals and motives should propel the story.

The main character(s) must have a clear and obvious goal.

In fiction that can be any type of motivation, like coming to terms with the loss of a job or losing a bike race. But it helps to fix plot holes if the main character has a more obvious goal, like donating a kidney or protecting a loved one.

The goal has to be clear.

It has to be consistent.

And it has to matter.

If it’s not important to the protagonist, it won’t matter to the reader.

I will include a basic plot structure and what each point means below for you to use to ensure that you stay on the plotting road and don’t meander from the storyline based on Dwight Swain’s insight self-editing book, “Techniques of the Selling Writer.”

Every scene should have the following three patterns:

Goal

Tension

Obstacles

A sequel should have the following three patterns:

Reaction

Problem

Decision

You may think these scene points are too basic. But this is reducing the storyline to follow the two very simple forms have been used by successful novelists. And there are many other scene outlines that writers can use; however, they normally do not work quite as well. Some writers may feel that it’s impossible to write scenes following these simple rules. Except it’s not, if you want your timeline and story arc to stay on track.

Still unsure? Ask yourself these questions regarding every scene:

What is the character's goal in this scene?

What do these characters want?

Why do they want it?

What stands in their way of getting it?

What is the biggest obstacle to your character getting what they want?

Now answer these questions for each scene until you get to the end. When you are finished, go ahead, and mentally pat yourself on the back. You have a solid plot!

http://www.amazon.com/gp/bookseries/B00ZCJ85CY

Now I’ll share what I do to make sure that my storyline stays on track by using a simple chapter-by-chapter questionnaire, with an example from the third novel in my popular young adult series, MOONLIGHT MAYHEM. In bold are my chapter questions and scene information, and in italics are my responses and important data.

CHAPTER ONE

Locations / Date and Time of day:
Luna Pizza – Saturday, Sept 10 evening

Main character goal in this scene:
Help boy and seek answers to wolf attack to protect others

Obstacles or Conflict:
Main character is unsure and scared of the new threat in town.
James dies after lycan attack
Drive to Ravenhurst with Ari, get attacked by wolf, and see spooky raven

What’s at stake?
Others in town could be hurt or killed by animals if main character doesn’t find a way to stop them.

Important Information Learned:

James bitten by wolf and ends up in a mysterious coma

Shiloh is embarrassed by her scarred arm and has demon blood inside her

Description or setup of Whispering Pines

Snapshot of main character’s life

Overall scene Goal:

Establish main villain or threat

Introduction of Main Characters

First Inciting Incident

Set the tone, mood, type, and scope of the storyline. World Building: A “before” snapshot: Show main character normal world and usual routine.

What questions were left unanswered? What new ones were created?

Where did the wolves come from? Why are they attacking innocent people? What can the main character do to solve the mystery without being killed herself?

***

In, MOONLIGHT MAYHEM, I did end up cutting three scenes that did nothing to push the story forward, because they meandered off the straight plotting road.

http://www.amazon.com/Lost-Starlight-Saga-Sherry-Soule/dp/0692224424

Next is an updated outline I used to plot my novel, UNDER SUNLESS SKIES (book two of the Starlight Saga) and a more in-depth scene summary. I revised my old scene outline (from above) to this more detailed one below based on the plot handbook, “TAKE YOUR PANTS OFF” by the talented Libbie Hawker.

*SPOILER ALERT*

CHAPTER ONE

Opening Scene

Date / Time of day:

Sunday early afternoon

Scene Summary:

Sloane learns about her hybrid heritage while she deals with her recent heartbreak. She discovers that her absentee father is actually a hybrid and her mother is a human. According to hybrid law, this union is forbidden among their alien clan (conflict). Her parents never told Sloane the truth (she no longer trusts them now) about her father’s origins. Since her father’s powers were so rarely used, her parents thought they could live as a normal family undetected by the other hybrids and Sector Thirteen.

Sloane tells her parents that Arcane mentioned he was searching for a hybrid that had broken their laws (stakes/ dilemma) in Winter Haven.

Sloane trusted her parents, but they lied to her about her heritage and potentially put her and her brother in danger. She doesn’t feel like she can trust them now (conflict / tension) and their relationship is fragmented. (Ties in with theme)

Sloane rushes from the living room, crying and claiming the realization is too much. Plus, she’s still dealing with just being dumped hours before by Hayden.

Characters in scene:

Sloane (MC), Jonah, mom (Karen), and dad (David)

Scene Location:

MC’s house

Opening Hook:

MC learns that she is a hybrid, and she realizes that Arcane is hunting her father. She is unsure she can trust Arcane not to hurt her family or turn them into the GB. However, Sloane is hopeful now that Hayden will want to get back together since she is a hybrid, too.

How does it move the plot forward?

(Minor inciting incident) This shocking revelation is game-changer in the MC’s world.

What is the MC’s goal in this scene?

To try to absorb all this new info about herself and her family.

Opposition (obstacles / conflict)?

No longer completely trusts her parents.

Does it reveal any new characterization?

Reveals theme “secrets” and character flaw “trust”

What important information did the reader learn?

That Sloane’s family had a secret. Sloane has a chance of getting back together with Hayden.

What questions are left unanswered? Or what new ones are created?

What will Sloane do with this information? How will it change her life? Is her family in danger from Arcane? Will she be able to get the love of her life back?

***

Okay, now you have an idea on how to go through your own manuscript and do an easy chapter-by-chapter outline for every scene in your novel. If you cannot answer these simple questions for each scene and/or chapter, then perhaps that particular scene needs to be cut from the narrative or heavily revised. Not every scene needs conflict, but it should include some tension to propel the plot forward.

If you have any questions pertaining to my chapter/scene outline, please leave a comment or send me an email, and I'd be happy to help!

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23. Plot Structure, Tension, and Obstacles - #WriteTip

By: Sherry Soule, on 7/12/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Plotting your Novel, Editing Plot, Add a tag

In order for the plot to be interesting and keep readers flipping the pages, you need some obstacles throughout the narrative. In a way, it is like problem solving or fitting the pieces of a complex puzzle together. Make sure your main character has a clear dramatic goal to reach, and then make it practically unattainable. That's how a lot of writers create a bestseller.

For example, the main character must solve a mystery or figure a way out of a bad situation (goal), but he has no idea how. The reader becomes intrigued because they’re curious as to the “how,” too.

How will Martha prove that aliens abducted her before her family commits her to psychiatric hospital?

How will Sara find her missing son before the kidnapper kills him?

How will John get to work on time in the heavy traffic after his boss warned him that he’d get fired if he were late again?

Now come the obstacles. Before these characters can move forward, something else is thrown into their path that hinders them from reaching their goal. These are obstacles, and they can big or small. Pour on the troubles, and readers will feel frustration along with the character as they set out on their journey and encounter each roadblock.

Martha can’t prove anything unless she faces her own fears and tries to make contact with the extraterrestrials.

Sara cannot save her son when no one believes her and the police claim he’s just a runaway.

John will not make to work on time now because of an accident.

I know some writers that like their characters so much that they don’t put up any roadblocks or give them any difficult situations to face. Please don’t do that. Make your characters suffer, even just a little. Not only does it make them more likeable, but also the reader will start to root for them. They’ll want to keep reading just to find out if Timmy is able to find his runaway dog, Fido, before the mean dogcatcher does.

To be honest, a story without any conflict or tension or opposing force is, well, boring. All great novels need to have some type of dilemma for the hero to overcome. (I find so many New Adult novels lacking any real conflict or tension.) Just think of every blockbuster movie ever made. The hero is not only on a journey to self-discovery, but bad things kept happening to him along the way. He might even feel like giving up at some point, but then something else occurs, which gives him a spark of renewed hope to keep going. And then he faces any new challenges head-on and starts to defeat the opposing force. Now, that’s good storytelling!

The phrase, “One step forward, two steps back,” applies to plot structure the same as it does in real life. Just when a person might think they’re moving forward, something happens to cause them to stumble backward. Whatever happens causes the person (character) hurt, tension, stress, or apprehension. The character must fight those setbacks. And the more a character wants something (goal), the harder they should fight to attain it. Don’t make it easy for them. Don't create passive characters without any goals or "wants" because those types are just boring.

The hero has to have major obstacles standing in the way of achieving his goal. Even if they’re small, annoying problems, it keeps him from doing whatever it is that he has set out to do.

He/she can’t drift through scenes without facing some problems, even his own inner-demons. Virtually every main character(s) must suffer from some type of moral dilemma or weakness (character ARC / flaw) besides all the obstacles that are tripping the MC up.

Let your hero make bad choices and then learn from them. Allow him a few mistakes that ruin his chances of obtaining a goal. Throw huge obstacles in front of him that cause tension and conflict within his world. Raise the stakes to avoid a "sagging middle" story.

There is no plot or story if the character doesn’t have any goals to achieve or obstacles to overcome.

Some plot devices used in books:
Striving toward a goal
Overcoming obstacles in pursuit of goal
Solving a mystery

Resolving a problem
Bringing order to chaos (return to equilibrium)

The Hero’s journey
Flight and pursuit
Coming of age (from innocence to experience)
Personal growth

Let’s say your hero is a cop who’s terrified of heights (flaw). Then add a scene where he has to climb a tall ladder to rescue a kitten from a high rooftop and he’s totally freaking out. Then add another scene where if he doesn’t scale a building (obstacle) to catch a bad-guy, then the guy who murdered his wife will go free. He has a major case of vertigo and he must find a way to overcome his phobia by the end of the story; however, obstacles like his fear of heights is standing in his way of getting justice (goal).

Or it could be as simple as your character desperately wants a job promotion to be able to pay the mortgage (goal) on his dream house after his wife loses her own job. But this other guy, a kiss-butt overachiever, in the office wants it, too. So the hero has to find ways to prove to his boss that he’s the right man for the job, but the butt-kisser keeps trying to sabotage (obstacles) all the hero’s good deeds at work.

All plots and good stories need tension, conflict, and an opposing force. The “opposing force’ doesn’t have to be a crazed mass murderer or an evil villain. It could even be nature, like a deadly tornado about to wipe out the hero’s hometown, or a 300-pound young woman trying to lose weight, but she lives in a world filled with chocolate.

She could be a college student trying to join an exclusive sorority to make her dad happy so he won’t cut her off financially, but she’s worried they’ll discover a dark secret she’s hiding.

Or maybe she’s a demon hunter with a fear of the dark and evil only comes out at night.

Or maybe the character just inherited a haunted house from her uncle and the ghost residing within the mansion wants to kill her.

Or even, a teen girl that is in love with a mysterious boy, but their relationship is forbidden by his family.

And once your character overcomes all those nasty issues and huge dilemmas, and finally obtains his or her goal, the reader will be satisfied and cheering him/her on.

So, PLEASE, because I need more amazing books to read, make your beloved characters undergo some form of torture or problems. The bigger, the better. The harder to overcome, the better. The more dire the situation, the better. Pile on the complications and turn your story into a page-turning, un-put-downable read!

This blog post is awesome at explaining plot structure in more detail: http://www.writing-world.com/children/obstacles.shtml

If you have any questions pertaining to plot structure of a fiction novel, please leave a comment.

So, how do you torture your characters?

0 Comments on Plot Structure, Tension, and Obstacles - #WriteTip as of 7/12/2015 1:50:00 PM

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24. How to Instantly Enhance Your Characterization - #WriteTip

By: Sherry Soule, on 7/10/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Voice, POV, Deep POV, Add a tag

As an editor, I find that a lot of writers don’t fully comprehend what “voice” means in fiction or how it pertains to characterization. So I’ll try my best to explain it in the terms that I understand them.

Just as everyone has their own characteristic way of speaking or expressing themselves, a writer’s characters should also have a distinctive “voice” that clearly comes across in the narrative. How the character reacts or responds in a given situation should be unique to their personality. So choose your nouns and verbs carefully. Being specific about even small details, like facial expressions can create a strong impression of that character’s unique POV. Plus, using a deeper POV can greatly enhance any scene.

Each character’s voice personifies more than their speech or internal-thoughts. The narrative should express it as well. When you write a scene in a certain character’s POV, each sentence in that scene has to read as though it is being experienced, felt, and expressed by that character. Everything that happens in a scene is processed in a unique way by that character, so even the narrative must have “voice.”

Look at these examples from my published novel, IMMORTAL ECLIPSE:

BAD EXAMPLE:

I looked at the cream envelope on the kitchen table. I’d first thought that it was a wedding invitation. I hated being unmarried and having people give me a hard time about it. I didn’t understand why being single and in my late twenties made my married friends give me odd looks. I was just independent.

GOOD EXAMPLE:

My gaze rests on the cream envelope lying on the kitchen table. The one I’d first thought was a wedding invitation. Yet another nail in my unmarried-still-tragically-single coffin. Why does being single equate to being tossed in the bargain bin at Target? I’m a sophisticated and independent New Yorker, dammit!

* * *

Each sentence presents the same scenario, but how the character handles it and the way it is shown in the words used to convey her thoughts is different. The first one is “telling” the reader info in a bland way, but in the second version, we get a glimpse of her personality and “voice.”

Voice is the characteristic speech and thought patterns of your narrator, like a persona. Because voice has so much to do with the reader’s experience of a work of literature, it is one of the most important elements in any piece of writing.

Here's an example of teen "voice" through close third-person POV from Lucky T by author Kate Brian.

EXAMPLE:

On a warm and sunny Saturday morning, Carrie Fitzgerald stepped out of her walk-in closet wearing a lime green miniskirt. It was so short, she was positive she could never, under any circumstances, bend over in it. Her blond hair was held up in an impromptu bun with a No. 2 pencil. She had just run up to her room with her best friend, Piper Breslin, and begun trying on a multitude of eye-popping outfits that they bought during their crack-of-dawn shopping spree. The Westfield San Francisco shopping center had never been hit that hard that early in the morning before.

“Does this make me look sexy or skanky?” Carrie asked.

Piper checked herself out in Carrie’s floor-length mirror and stuck her tongue out at her reflection. The electric blue tank top that she’d grabbed off Carrie’s reject pile was clinging in all the wrong places. While Carrie had a very sleek figure that would make a supermodel envious, Piper was on the shorter, slightly rounder side.

“How do I put this without hurting your feelings?” Piper said with a smirk. “There’s a hooker in LA that wants her skirt back.”

“Hey, I can’t help that I’m all legs.” Carrie tugged at the hem of the skirt, hoping a few more inches of material would magically grow.

“I don’t know how you do it,” Piper said as she watched Carrie gawk at herself in front of her mirror. She could totally tell that Carrie was admiring the lift of the push-up bra she had bought at Victoria’s Secret.

“Do what? Look like a streetwalker no matter what I put on?” Carrie joked, her brown eyes teasing. “Why do I have to be so tall and skinny?”

* * *

To me, “voice” is more about how a writer has their characters say something by the slang they use, or the character’s tics, gestures, unique way of speaking, and even expressing themselves.

Now compare the following two examples, which should help inspire your creative muse. The first is shallow writing with lots of tellingand hardly any “voice” or sensory details.

BAD EXAMPLE:

Sam Harrington glanced up from his comic book. A fat man with brown hair and eyes and a big nose walked into the bookstore. The man was wearing jeans with thick socks and sandals with a faded T-shirt. He walked past the bookcases and toward Sam.

“Can I help you?” Sam asked as the man approached.

“Here to pick up my book,” he said loudly.

“Sorry, this week’s order hasn’t come in yet. Do you wanna give us a call next—”

The man leaned across the counter. “What do you mean my book didn’t come in yet?” he asked raucously.

Sam opened his mouth to respond but stopped.

The guy straightened up and tugged on his shirt. “Where is my book?” he repeated more calmly.

GOOD EXAMPLE:

It was a slow day at the Book Shark. Sam Harrington stood at one end of the bookstore in the self-help section, stuffing last week’s shipment of books onto the shelves. The bell over the door chimed and Sam glanced up. A waft of car exhaust and brewing coffee entered the room as the door opened.

The customer maneuvered around the bookshelves with a heavy limp. When he caught a glimpse of the man’s clothing, Sam’s eyebrows rose. It was the middle of summer and the guy had on jeans with socks and leather Birkenstocks. Crazy.

Sam hurried past a guy sitting on the floor reading a book and an old lady with blue hair—well, it looked blue—scanning the covers on the romance novels on sale.

Sam walked behind the counter and asked, “Can I help you, sir?”

“Here to pick up my book,” the man said.

“Sorry, this week’s order hasn’t come in yet. Do you wanna give us a call next—”

The stocky man leaned over the glass counter, and glared down at Sam. His dark-brown hair fell into his hazel eyes, and the man pushed the strands aside with a pudgy hand. He lowered his head, his breath soured by stale beer and cigarettes. “Whaddya mean my book didn’t come in yet?” His bulbous nose twitched with anger.

Sam’s shoulders slumped. Great. Another pissed off customer. It’s not my fault the freaking shipment is always late.

Before Sam could respond, the man straightened, tugging at the collar of his faded Aerosmith T-shirt in an attempt to collect himself. “Now. Where’s my book on ritual human sacrifices, boy?”

* * *

Do you see what I mean? The second example clearly reveals “voice” in both the speech, internal-thougts, and the narrative, and even a Deeper POV.

"Voice" can add an extra layer of characterization to any novel, and can avoid making your character seem like the dreaded Mary-Sue type.

Yes, writing with Deeper POV and "voice" often adds more words to your prose, but it is far more interesting and tells the reader a lot more about what's going on and reveals a character's personality aka "voice."

Let’s use another example in order to clarify what I mean. Here’s a snippet from my wildly popular novel, LOST IN STARLIGHT, before revision (no "voice") and after revision. The heroine is writing a story for the school paper on a new guy at school, and she is confused by her attraction to him.

Please compare the two examples.

BAD EXAMPLE:

When my last class ends, I go to my locker to get my Trig textbook. I hear the doors at the end of the hall bang open, releasing students and I feel it letting in a gust of air. I notice fluorescent lights overhead.

Across the hallway and a few lockers over from mine, I can see Zach and Hayden. I look at a red spray-painted slash on the metal door. I decide that someone must’ve spray painted Hayden’s locker again.

While opening my locker, I notice Hayden’s staring at me. I discern that he is taller than most boys.

I can see he has a messenger bag in one hand, and I notice drumsticks in his back pocket. I lift my hand to wave.

As I watch him, he doesn’t respond. He just continues gazing at me with strange eyes. I feel my head go woozy. It makes my limbs feel jittery. Frustration and confusion assault me for having feelings for someone like him. And I wonder why he is staring.

I feel a wave of nervousness because he is watching me. I wonder if there is something wrong. From the corner of my eye, I see him lean into the wall.

I think Hayden’s stare is unsettling. I know there’s something about that guy’s smile that attracts girls. I decide that no one can resist Hayden Lancaster. Maybe not even me.

I see him watching me, and I feel heat on my skin. I notice Hayden isn’t looking at my chest like most boys, which I know will only complicate my feelings.

GOOD EXAMPLE:

When my last class ends, I stop at my locker to get my Trig textbook. The doors at the end of the hall bang open, releasing students for the day and letting in a gust of warm air. Several obtrusive fluorescent lights flicker overhead.

Across the hallway and a few lockers over from mine are Zach and Hayden. An angry red spray-painted slash taints the metal door. Some jerk must’ve tagged Hayden’s locker again.

While opening my own locker, I’m suddenly aware that Hayden’s blatantly staring at me. Hard to miss. He’s like a man among boys, at least in his flawless physique. His messenger bag is in one hand, and drumsticks stick out of his back pocket.

I lift my hand in a hesitant little wave. He doesn’t return my gesture, just continues gazing at me through those thick lashes that frame his unique eyes. My head goes all woozy. Even my limbs feel jittery. Frustration and confusion are warring inside me for having anyfeelings whatsoever for someone like him. And what’s with the stare?

A wave of nervousness hits hard. Is there toilet paper hanging out of my jeans? Food stuck in my teeth? Or have Frankenstein bolts suddenly sprouted from my neck?

Being on Hayden’s radar is a little unsettling. I admit there’s something about Mr. Puppy Hero’s rare smiles, lopsided with an edge, that draw girls to him like insects buzzing a bug zapper. For better or worse, no one can resist Hayden Lancaster. Not even me.

Our gazes lock for just one second, and heat rushes beneath my skin. Hayden isn’t gawking at my chest like most boys. He’s only looking at my face, which further complicates my feelings for this strange dude.

* * *

Did you immediately detect the character’s unique “voice” in that last example?

Now one last thing, I think even secondary characters need a distinct personality that separates them from other characters.

This next longer excerpt is from my New adult novel, SMASH INTO YOU, shows how even a secondary character can have their own (and should!) personality, too. Vanessa has a very unique voice, as well as my narrator.

GOOD EXAMPLE:

My new roommate and I were polar opposites. Her name was Vanessa Carmichael and she apparently guzzled energy drinks by the gallon, and her tousled copper hair looked like the “before” picture in a Pantene commercial. At least she seemed nice and normal. I wouldn’t have to worry about her doing anything weird like stealing my underwear or taking cell phone pictures of me while I slept to post on Instagram.

While Vanessa talked a mile a minute, folded clothes on her bed, and sipped a Red Bull, I inspected her—incrediblycluttered—side of the room. I flicked a glance at the red poster with that lame phrase “Keep Calm and Carry On” in white lettering over her headboard. Vanessa had fastened a corkboard to the wall above her desk, pinned with snapshots of her high school debate team and blue ribbon awards for science and math. Piles of Old Navy hoodies and graphic shirts and bell-bottom cords were scattered on her dark green comforter.

“…then I laughed so hard, I nearly peed in my hemp underwear…Hello? Are you even listening to me?”

I glanced up. “Oh. Yeah. Sorry. What were you saying?”

Vanessa pushed up her glasses. “You don’t care that I took the right side? Because I like being closer to the window and you came a day late—”

“It’s fine,” I said, shifting on my bed and lowering the novel I’d been reading.

“If it’s gonna be an issue, I can move my stuff,” Vanessa said.

“I don’t care. Honest.”

Vanessa took a swig of her drink. She blinked her big owlish eyes behind square-framed glasses. “Awesome. My roommate last year was sooo picky. She was always borrowing my stuff without asking, and making out with her emo boyfriend…”

Chatty Vanessa would be my cellmate for the next year. Oh, yay. I already wanted to duct tape her mouth shut.

Lifting my paperback, I shoved both earbuds into my ears and turned on my iPod, the soft melody drowning out her voice. My roommate had started yakking the moment I entered the room after my meeting with Ms. Greene. Her favorite topic? Herself.

In the first ten minutes, I’d learned that Vanessa was a middle child, president of the Earth Matters!—environmental issues—club on campus, wrote The Vampire Diaries fanfiction, used the word “awesome” a lot, and had a boyfriend named Levi who attended MIT.

“…it’s hard with Levi living so far away. We only get to see each other on break. Over the summer we went to this awesome Comic-Con that featured Marvel’s The Avengers in San Francisco.” Vanessa stuffed a hoodie into a dresser drawer. “And you’ll never guess who was there!”

My turn to talk. Yay.

I stretched my arms over my head, lowering the volume on my iPod. “The amazing writer and director Joss Whedon?”

“No!” She waved both hands in the air like a crazed fangirl. “Even better...Loki, Tom Hiddleston! Omigod, he’s even hotter in person and so nice. I asked him to pose for a selfie with me and, of course, he did. I posted it on Facebook and I got a hundred likes within an hour. It was so awesome—”

“Really? Do you have the pic?” I asked, trying to make an effort.

Vanessa rewarded me with a five-second pause while she dug through her slouchy purse to retrieve her iPhone. “Um, it might take me a while to find it....”

“That’s okay.”

“Oh! Awesome! I got two new reviews on my fanfic page.” She stared at her phone, scrolling through the screen with a sparkly green fingernail. “Crapola. I can’t find it.”

“No worries,” I said, pulling my comforter over my body.

* * *

I hope this post helps you revise your own work. If you’re still confused about “voice,” please leave a comment or shoot me an email and I’d be happy to help.

0 Comments on How to Instantly Enhance Your Characterization - #WriteTip as of 7/10/2015 5:44:00 PM

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25. 8 Tips on Book Promotion and Getting Reviews - Part 9

By: Sherry Soule, on 7/5/2015
Blog: Dark Angel Fiction Writing (Login to Add to MyJacketFlap)
JacketFlap tags: Book marketing, Author promotion, Add a tag

0 Comments on 8 Tips on Book Promotion and Getting Reviews - Part 9 as of 7/5/2015 2:48:00 PM

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