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I’d forgotten the joy that comes from writing a first draft (I’ve been editing two other books I’ve written, lately). I love writing quickly. I think writing quickly is part of what gets me past the editor in me. While editing is necessary, I think it’s best to come in during the second and further drafts.

I did plan out my book first (using The Anatomy of Story by John Truby, as I always do), so I know the direction I’m going, but I love discovering new things about my characters or a new plot twist or point as I write.

I’m writing about ten pages a day–by hand. I write (and edit) all my books by hand; it feels the most connected to my creativity and inner voice. I’ve been trying to cram writing this new book and then typing it up into each day, but I’m behind in typing it up (and trying to pace myself so I don’t burn myself out). So my updates on how much I’ve written are about four or five days behind on NaNoWriMo. I’m glad people understand that some of us write by hand! (And all this while I’m sick–but I’m having fun!)

I am writing a YA paranormal fantasy set in my HUNTED world, about Gemma, a queer black telekenetic girl who has been sucked into all the anti-Para messages that are constantly being spewed at her–through school, her home and neighborhood, her community, and the media, the church, and the government. This is about a girl who starts out hating herself–because after all she IS a Para, and her own mother abandoned her because of it–but in the end she discovers she’s stronger and better than she realizes. It’s about a girl who’s bought into the oppressive messages in society and is forced to unravel them. A girl who has the family and love she’s always craved, but just hasn’t seen it yet. A girl who, in the end, will have to save herself. It will be a stand-alone fantasy, but it will have some mentions of characters from HUNTED for those readers who loved HUNTED.

If you’d like to connect with me on the NaNoWriMo website, I’m here: http://nanowrimo.org/participants/cherylrainfield/novels/endangered-642915/

One of the main concerns writers should have when planning and writing a series is consistency. But what does it mean to be consistent? It’s more than just keeping track of the character names, physical attributes, family trees, and locations in a notebook or Excel spreadsheet; it’s about presenting the logical facts that you’ve established in a series in a consistent manner, from book to book

Below, Karen S. Wiesner discusses the five major red flags of inconsistency—and what you can do to prevent them in your own fiction series.

1. Oversights

Oversights are a catchall category for anything in a plotline, character, or setting that concerns illogical, unexplainable, or unrealistic courses of action and plot holes, including coincidence contrivance (writer needs it to work and so creates the groundwork on the spot to patch up a means to force it to work) and convenience justifications (it was the only way to make A fit with B, so I had to do it, didn’t I?).

A deus ex machina situation is one in which an improbable event or element is introduced into a story to resolve all the problematic situations and bring the story to a close. In a conventional Greek tragedy the producers actually lowered an actor playing a god onto the stage at the end of the play and he resolved all the conflicts. Talk about unsatisfying for the audience! Any author worth his salt needs to create plausible backstory and motivation for every action, and she has to make characters heroic enough to solve their own problems. That’s why Oversights are so major in series consistency.

If your character does something that makes no sense in the course of the action or in terms of their internal conflicts and motivations, or if you include a plot point merely for convenience sake, you’ve got yourself a nasty oversight. If, in one book, your character is so scarred by the death of a spouse that he doesn’t believe he can ever move on or fall in love again, and in the next book he has already become involved with someone new and never thinks about how he’s a widower, you’ve made a huge oversight that readers probably won’t tolerate, let alone accept. In other words, you go from one situation to the next without any explanation for the radical change. If you want something to be believable, you need to set it up logically and you need to set it up early enough so it will be readily accepted by the reader. That absolutely requires advance planning.

2. Changed Premise

This category includes information given in one episode that directly contradicts information in another. In a series this can be fatal. If your book series has a Changed Premise from one book to the next, readers will lose respect. If anything concerning character, plot, or setting conflicts with something that was previously established, it would fit under the Changed Premise heading. If you alter the structure or foundational facts that were previously set up in the series, even if you do it for a very good reason, you’ve changed the premise for the story, and readers will notice. If you can’t find a way to make something believable within the entire scope of the series, you’ll lose readers, perhaps for the remainder of the series. As an example, if your vampire can’t see his own reflection in the first two books in the series, but in the third he desperately needs to be able to see his reflection in order for your plot to work, you’ve changed an established premise. You’ll have to come up with a solid bit of plausibility to get readers to accept the change. If you create a world in which no outsiders are tolerated in the first three books, yet in the fourth one a stranger shows up and is ushered into the heart of the community with open arms, you’ve changed the premise of your series.

3. Technical Problems

While problems with equipment and technical oddities were often an issue in science fiction shows like Star Trek and The X-Files, (and may be in your series, too, if you include a lot of technology that must be realistic), this kind of inconsistency can also deal with inadvertently or indiscriminately jumping into alternate viewpoints or changing descriptions of characters or settings because what was previously mentioned has been forgotten. If your character always speaks in a certain dialect and suddenly stops in a subsequent book, that’s a technical problem. Names and jobs can also accidentally change through the course of a series. If your character’s hair color or eye color changes, or if he was 6’5″ in the first two books in the series but drops an inch in later stories, you have what may be considered technical problems.

For instance, in The X-Files both main characters used cell phones throughout most of the series, but the phones were used inconsistently, in ways that forced the viewers to question the logic. In one episode, Mulder was trapped underground in the middle of a desert called Nowhere—was there actually a cell phone tower nearby that allowed him to get good reception? In other cases Mulder and Scully didn’t use the phones when they should have, and in each of these cases, it was convenient to the plot and for the writers/creators that they didn’t use their phones to call the other to their rescue because it would have solved the plot of that particular episode too quickly.

These are probably minor and simply annoying issues at most, and you probably won’t lose any readers with such blunders, but dotting all your Is and crossing all your Ts will make fans appreciate you that much more.

4. Continuity and Production Issues

Again, in both The X-Files and Star Trek, errors often crept up as a direct result of someone on staff not checking the manual or previous episodes before going ahead with the episode. How often was a setting shot reused and only slightly altered in Star Trek because coming up with something new would have been expensive or time consuming? In a classic Star Trek episode, the creators decided to establish that the Romulans had stolen the design of Klingon ships—so they could use a Klingon ship they’d already created. Not only that, but the Romulans also used Klingon weapons. Cheaper for the creators, yes, but viewers can’t help but groan at these production issues. If you’re doing anything “halfway” with your series simply because it would be a hassle to find a better, more creative way of handling it, you’re making your own production problems. Readers will feel your impatience and probably wonder why you skimped.

If you give a character two birthdays or have him get younger instead of older as a series progresses, these are less crucial issues but nevertheless problems. I call issues like these minor because, unless you have fans who are ravenous and must know and understand every facet of your series, many won’t sit down and figure out timelines or even see a problem.

5. Unanswered Questions

If the author is never going to answer a nagging question, why invest anything, especially time and passion, in the series? Leaving a series arc dangling isn’t something an author can do in a book series unless she sets up the series from the first as an open-ended one that probably won’t have definitive closure. While each book in the series must have satisfactory individual story arc resolutions, all series-arc questions must be answered in the final book of the series or readers will be furious, perhaps enough to ban you as an author for life. They’ll feel cheated and rightly so. Don’t underestimate the damage a vengeful reader can do to your career. (Have you read Stephen King’s Dolores Claiborne? Do it now and take heed!) To write a series is to promise the closure and/or resolution of unanswered series arc questions. Think of it this way: With the first book in your series, you’ve presented a question and asked your readers to be patient as you string out the development of this theme through several books. You’ve promised that an answer will be delivered in the last book. If you don’t deliver it, you’ve stolen time, money, and even reader emotions, all with a careless shrug of purposeful neglect.

Gene Weingarten suggests that winning a Pulitzer Prize is “pure luck.”

“The Pulitzer is a crapshoot,” The Washington Post feature writer/humor columnist says. “Your piece has to hit a few people the right way at the right moment.”

Easy for Weingarten to be modest: He’s the only two-time winner of the Pulitzer for feature article writing. In the first, 2008’s “The Fiddler in the Subway” (“Pearls Before Breakfast” when it first appeared in The Washington Post), Weingarten arranged for violin virtuoso Joshua Bell to play outside a D.C. Metro station during morning rush hour to see if anyone would notice. His 2010 winner, “Fatal Distraction,” recounts stories of parents who accidentally killed their children by forgetting them in cars.

Those stories and 18 others are collected in The Fiddler in the Subway, which includes an introduction that doubles as a superbly instructive primer on writing.

Here, the feature-writing guru offers the inside story on how he crafts his Pulitzer-grade prose.

What’s the one thing an aspiring writer must understand about writing?
I can tell you what it’s definitely not. It’s definitely not “I before e except after c,” because what about ‘either’”?

But seriously … is there one thing an aspiring writer must understand?
That it’s hard. If you think it’s not hard, you’re not doing it right.

One of the things I admire about your work is that you consistently prove that great writing begins with great reporting. Talk about the importance of reporting.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.

The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality. That’s all reporting.

What distinguishes a well-told story from a poorly told one?
All of the above. Good reporting, though, requires a lot of thinking; I always counsel writers working on features to keep in mind that they are going to have to deliver a cinematic feel to their anecdotes. When you are interviewing someone, don’t just write down what he says. Ask yourself: Does this guy remind you of someone? What does the room feel like? Notice smells, voice inflection, neighborhoods you pass through. Be a cinematographer.

Do you have any particular writing rituals or techniques that would help other writers?
Until I got to the end of your sentence, I had an answer. Alas, I don’t think this would be helpful to many writers: After I report a story, I look at my notes carefully, then lock them away and don’t look at them again until I have a first draft. I find it liberating to write without being chained to your notes; it helps you craft an ideal story. Then I go back to the notes and realize what I wrote that I can’t really support, what quotes aren’t quite as good as I thought, etc. It can be hugely frustrating, but it also sometimes leads me to go back and improve reporting, to make the story as good as I thought it could be. Not sure this will be helpful to most people. It’s kind of insane.

You say all stories are ultimately about the meaning of life. How do you find that heart of the story?
By pe

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