Unseen Background Details by Mary Deal

As a writer, you may find that TV characters can be emotionally flat time and again. What sets them apart, even what gets the viewer to like them, is that we can see them. We see their facial expressions and how they react to other people and occurrences. We see their actions, which express motivations and emotion. We see the background scenery and how they act and react in such a setting.

What we see on TV or in a film is exactly what many writers fail to include in their stories.

Details we see in a picture don't have to be explained because we see them. When writing our stories and books, we must skillfully describe the important silent background details for the reader.

A simplified example: If the reader doesn't know the character is caught out in a rainstorm, how will the reader know anything except that the character is walking down a street?

We must describe the setting. If it was raining, don’t stop there.

Was it a thunderstorm or simply sprinkling?

Did the character get caught without a raincoat and umbrella?

Was the sky dark, or was the sun shining through the rain?

Was the wind blowing?

Who else was nearby and how did they react to the rain?

We writers must include in our written works anything that might otherwise be seen when viewing the same scene on TV or in a film. Yet, we cannot over-do the details by stopping the story and describing the background.

Every detail necessary should be woven into the action as long as it enhances the scene. Which do you prefer?

The sky was dark. Lightning lit up the distant sky. Thunder rolled. The wind was fierce. It bent her umbrella backwards. She discarded it. Rain pelted down. She wore a raincoat but was now getting drenched.

Or this:

When lightning flashed and thunder rolled again and the deluge came, she grabbed the collar of her raincoat, drew it up around her neck, and began running. Her umbrella bent backwards as the wind tore it from her hands. Her hair hung in loose wet ringlets as water streamed off the ends and ran down inside her collar. How did she ever let herself get caught alone on a dark street with wind strong enough to blow her over the side of the bridge? And why had that dark sedan slowed its speed to keep pace directly behind her?

The rule is never to stop the story to describe the background or scene, but to include the surroundings among the action performed by each character and as it affects that character.

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Author, Painter, Photographer

Eric Hoffer Book Award Winner
National Indie Excellence Book Awards Finalist (past)

Pushcart Prize Nominee
Global eBook Awards Nominee

2014 National Indie Excellence Book Awards Finalist

Global eBook Awards Bronze

Global eBook Awards Silver

Blog: http://www.marydeal.com

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Last of the Blueberries

My poem, Last of the Blueberries, won second place in Writer's Carnival Poetry contest. Please read and post a comment if you will. Thank you.

Okay Is Not Good Enough by Jean Lauzier

This past spring, I attended a semi-local writer’s conference. One of the speakers said that it was okay to publish a book that had errors in it. That it didn’t matter, because you could always upload a revised version any time you want. He also said if you were to get a bad review due to the errors, that was okay too. You just need to grow a tough skin and ignore it. Then he stated that if the reader likes your story, they will buy your next book, even with all the errors. By the time I recovered my senses, he’d gone on to promote his “how to write and publish a book in thirty days or less” book.

I don’t know about you, but I dislike a bunch of typos and grammar mistakes when trying to read. Sure, I understand a book will never be totally error-free, but we should strive to get as close as possible. I’m an avid reader and have returned books riddled with formatting issues and errors. And I certainly won’t be buying anything else from them.

Authors such as this are the reason self-publishing still leaves a bad taste in many reader’s mouths. And, I understand the legacy publishers aren’t perfect, but they do try.

As an editor for a medium-sized publisher, I see many submissions that really aren’t ready. Even though we require a professional edit before submitting, it’s amazing how many manuscripts still need editing when we get them.

One thing I often see at the start of a submission is page upon page of backstory. Naturally, the author needs to know their characters’ past. Especially since that character’s past tends to have a bearing on the story at hand. But, it needs to be woven in. A little bit here, a little bit there. Yes, it’s easier just to lump it all together, but many readers are going to skim over it or will close the book and find something more interesting.

Dialogue tags are another area where authors take the easy way. So many times, I see “he said angrily” or “she stated emphatically”.  How much better it would be to add a beat such as “He slammed his fist into the wall.” Or “She stomped her sneaker-clad foot.”  Yes, doing it this way is a lot of work, but so worth it.

I think a lot of the problem is many authors don’t study their craft. And it is a craft. A woodcarver doesn’t become a master craftsman overnight. He spends years practicing, making mistakes, starting over, and continues learning.

Same thing with musicians. Sure, there is the occasional genius who doesn’t need to practice, but those are few and far between. Most musicians start with the basics, practice and practice, then practice some more.

Writers must study our craft, too. We can’t be content with “okay”. When I read, I want to be transported into the story, to escape from my reality for a while. If I have to slog through ten or fifteen pages of backstory before something happens, I’ll find another book. If grammar issues keep jerking me out of the story, I’ll find one that doesn’t.

As writers, we can’t edit our own work. At least not well. We tend to read what we think should be there, what we meant to write. Many of us don’t know all the nuances a professional editor should. (I’m still trying to figure out commas.) A professional editor is a writer’s best friend and worth every penny they charge.  A professional editor wants your book to be the best it can be and will work hard to make it so.  And, that professional edit will get you an acceptance letter and publishing contract. 

Jean Lauzier

Meet me Under the Troll's Bridge

KEEPSAKES a poem by Patricia Crandall

Scraps of paper

scribbled upon,

old buttons

purple stones

the most precious,

a wilted dandelion

found in my blue jeans

jacket pocket,

Gifts

from my favorite

four-year old.