Writing tips I've learned from my long ride by Sandy Semerad

     It's been a lengthy journey, going from news reporter to author. I'd like to think I've learned a few things along the way, although I have often pondered this question: 

   Has working as a reporter helped me write better novels?

I hope so, but it’s been quite a ride. It didn’t start off as I intended.

As a child, I made up stories in my head, but as a reporter, I had to stick to the facts—“just the facts mam.”

In my early years, as a wet behind the ears journalist, I struggled to write a proper lead sentence with who, what, when, where, why and sometimes how. Or at least I was told that was the proper way.

I’d lose sleep, agonizing over the five w’s, not to mention the how’s. With perseverance, I learned to please my editors and meet my deadlines.

I still think it’s important to know the rules, particularly the rules of grammar, but it’s equally vital to find your own voice. Breaking the rules might be part of that process.

As for my journey as a writer, I have evolved. I’ve learned to construct simpler lead sentences, without including the five w’s all at once. I felt it was my obligation as a news woman to inform readers without boring them to death.

Readers crave excitement and conflict. That I know.

Who wants every question answered in the beginning? Not I.

It wasn’t until I moved to Florida that I started writing down the stories in my head. I saw a man fall from the back of a truck into a car, and I wondered: What if this happened to me on my way to New Orleans during Mardi Gras?

I entertained myself with this story until the characters began to multiply. I couldn’t keep them straight in my head. So I started writing about them. In a few months, I had a novel, or at least the first draft of a novel.

In reading through my first draft, I realized I needed more conflict. It wasn’t easy placing my lovely characters in danger, but I bit the bullet, and ruthlessly overwhelmed them with problems. I made them struggle and fail and encounter death until the very end. Call me merciless.

I also learned how to start off my tale with an inciting incident. I call this hooking the reader. Hook the reader with every turn, I say. Add hooks in the beginning, cliff hangers at the end of each chapter and at transitional breaks.

For me, the beginning of my story is the most challenging. How will I create a life-changing event? Will this event be the death of a loved one, a divorce, a murder, a job loss, a terrible accident, or a violent argument? Whatever, it must be riveting.

My first mystery novel Sex, Love, & Murder (previously Mardi Gravestone), begins with two inciting incidents. In the prologue, the president and my main character Lilah--a journalist and young widow-- are shot. After the prologue, I have the first chapter starting the week before the shootings. Lilah is in an automobile accident. A man is in a coma as a result of that accident. As the ambulance takes him away, Lilah discovers his tossed suitcase, containing cash and the details of a murder.

In Hurricane House, my protagonist is mourning the death of her fiancé when she discovers a body in the gulf.

In A Message in the Roses, Carrie Sue unlocks a diary revealing secrets she has yet to resolve.

But I must confess, when I first began writing novels, I suffered from backstory-itis, commonly known as information dump. (I define back story as anything that has happened to a character before the inciting incident).

As an avid reader myself, I enjoy a story with unanswered question. I like to ponder and wonder. Adding too much of the back story takes that pleasure away from me.

Now I find it helpful to write a back story for each of my main characters before I begin my tale. I want to know my characters as well as I know myself. Armed with this knowledge, I can add back story as needed.

In A Message in the Roses, Carrie Sue’s parents died in a plane crash. I mentioned this in the first chapter, because I thought readers needed to understand why she grabbed a letter opener and tried to stab her cheating husband. If I failed to create sympathy for Carrie Sue, readers might not like her and understand her impulsiveness.  

Including back story can be tricky, no question. It can be almost as complex as utilizing the five senses in scenes.

I have a tendency to overwrite, and for that reason, I hide my first drafts. No one sees them unless I badly need the opinion of someone like my husband, whom I trust.

I wish my every word and every sentence were impeccable but, I no longer bow to perfection while writing the first draft.  

Perfection, I’ve found is an elusive goal, entirely subjective, and in my life, it seems I’ve attained more from my imperfections and failures. I’ve certainly learned never to give up, no matter what, and I sincerely hope you’ve learned a few things from my writing struggles.

Whatever you take away, I want you to know: I write with passion, and when you think about it, writing with passion, might be the best tip of all.

To read more about my work please visit my website and the links below: www.sandysemerad.com

Buy link, A Message in the Roses

Buy Link, Huricane House

Buy Link, Sex, Love & Murder

How The Ghost Dance Originated by Ginger Simpson

Writing historical westerns with a smidge of romance and sex is my passion.  Although I've drifted away from the genre from time to time, I keep getting called back by my characters.  Yes, you know I hear voices  and amost of them have a twang. 

 I just submitted two re-releases to Books We love, and as you probably guessed, they are historical westerns.  My nose is always in a research book because when you write about historical facts, you'd better get them right.  Here's a little info on the kind of stuff you find when you're looking.  You may not always use the information in a book, but learning is always a good thing.

While researching history, I've turned again to my wonderful "America's Fascinating Indian Heritage" published by Reader's Digest.  I cannot tell you how many times I have counted on this historical guide to help me get my facts straight...and to learn.

In 1881, Sitting Bull and his Sioux tribe surrendered to the U.S., closing the history of the plains Indians as we know it.  All plains Indians were confined to reservations in the Dakotas,  to lands so dry and unyielding, that even experienced farmer's would encounter problems working the soil.  The people were expected to survive on supplies rationed by the government to supplement what they grew, but sadly, the food they received was as scarce as the yield they garnered from the tilled soil.

Land-hungry white men took advantage of the starving Indians and tried to buy their plots for as little as 50 cents per acre, and certain government agencies pressured the red man to consent to sell off the excess real estate. Caught in the middle of greed and hunger, the tribe sustained themselves with memories of the old days.

Far away, a Paiute prophet, Wavoka had a vision that spread and gave a new hope to the desparity.  The Ghost Dance would bring a new dawn and a time when the white man would disappear.  The dead would be resurrected and all Indian existence would change, living forever and hunting the new herds of buffalo that would reappear.

In preparation, The Ghost Dance had to be performed, a simple ceremony consisting of dancing and chanting, often resulting in a frenzy where participants often fell into a semi-conscious state and saw visions of the coming of the new world.  A Ghost Dance shirt, thought to make the wearer safe from the white man's bullets, was adopted, and because so many wore such shirts, the garments may have been the reason the ritual was considered a war dance.

Despite mistreatment at the hands of the whites and the undertones of the Dance, no antiwhite feelings were expressed and the message of the cult was one of peace, but fear mongering among the white officials on the reservation and spreading of gossip pointed a finger at Sitting Bull, who was thought to be the focus of the ceremony.

  Forty-three Indian police were ordered to arrest him, and descended upon his cabin.  He fought against the injustice due to what has been said to be taunts from old women to resist the whites once again. Shots were fired and at the end, fourteen people, including Sitting Bull lay dead.  More next month of the aftermath known as the Slaughter at Wounded Knee.

Note from Ginger:  All information pertaining to the Ghost Dance is attributed to Reader's Digest.  I have paraphrased to share this event with you.

Here are my two latest releases from Books We Love.  Find them on my page and click the covers for more information and purchasing options.

Adventures On the Husband Bench by Stuart R. West

The "husband bench" is a particularly uncomfortable piece of pseudo-furniture situated near the exit of department stores. The intention of the bench is to get the non-shopper out of the way so the shopper of the couple can go about their business, unimpeded by the whining other half. Married or dating, male or female, straight or gay, it doesn't matter; in the grand equation of life every couple is comprised of a shopper and a complainer.

The heinous bench is generally very cold and sterile, a terrible place to reside. And it's usually located  out of sight of the check-out aisle, presumably so the waiting person won't try to hasten the shopping partner's progress with impatient can-we-leave-now? hand gestures.

My last visit to the husband bench was an eye-opening, yet soul-deadening experience. I took my seat, my back freezing against the wall. Next to me, a tired looking man in a ball-cap eyeballed me, nodded, a weak brotherhood of sorts solidified in mutual suffering. Then we both went back to studying our feet. Soon, Ball-Cap's eyes lit up. His time in purgatory had ended as his significant other approached, bags in hands. The changing of the guard. The torch had been passed to me to take on elder statesmanship of the husband bench. I gave him a farewell smile. But not too big, because I knew my tenure in tedium had just begun.

A young guy strutted up, full of energy and cockiness. Didn't take long for his youthful vigor to slip into despair, like watching air leak out of a balloon. I gave him a knowing shake of the head, signifying that yes, this is awful, but soon it'll all be over, hang in there. Unless, of course, a blue-light special in aisle four is announced. You never know.

After an eternity of waiting, celestial trumpets sounded! A glorious spotlight framed my wife coming around the corner! I turned to the young guy and said, "now, you're in charge." He understood. Grimly.

But while I was waiting, studying my fellow sufferers, I began to wonder about them. Maybe they weren't there waiting for significant others. What if these men had a hidden agenda? Meeting on the husband bench for a nefarious purpose, a place where no one would ever suspect skulduggery.

From this simple premise, my new suspense thriller, Secret Society, was born. The book begins with two very different men meeting in a mall on a "husband bench." And from there, the action, mystery, dark humor, thrills, chills, intrigue and a clown car's worth of serial killers never lets up. It's a clowder of cats and mice thriller about a very insidious corporation that sponsors serial killers. For a price. A very big price. Pity poor Leon Garber who's crossed them.

People always wonder where my ideas come from. I point to the "husband bench,"  and say, "Here. What happens on the husband bench, stays on the husband bench."

Secret Society just released this very day from Books We Love publishing.

Out now: Ghosts of Gannaway, a historical ghost tale based on true events (sorta).

Stuart R. West's Books We Love author's page.