2024 has been a special year on the Craft of Writing blog. The theme of this year’s blog posts was Aspects of the Novel, and each month I interviewed an extraordinary author on a different subject. The results were so full of writing wisdom, I decided to present a snippet from each interview in this, the last post of 2024.

Walking with the Wise - A summary of wisdom from the Aspects of the Novel blog posts Share on X

 

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The name of each person who enters a comment will be put into the drawing for a $10 Amazon Gift Card.

So join the conversation and earn a chance to win. I’ll post the name of the winner after 9 PM Central Time tonight, so be sure to check back to see if you won. (Previous 2024 winners are not eligible to win.)

 

Now, sit back and enjoy walking with our wise friends through Aspects of the Novel. To see the entire interview for any of the choices below, click on the link.

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VOICE (James Scott Bell)

How does an author go about developing his/her own voice?

It’s really a matter of learning ways to let the voice run free. Let it come out naturally as you, the author, are concentrating on the emotion and action and internal lives of the characters. There are various exercises I give in my book on voice, such as the page-long sentence. When I come to a place of high emotion in a scene, I like to start a fresh document and write a single, run-on sentence of at least 200 words. It is free-form, wild text in the character’s voice, not thinking about grammar or structure. It’s just pouring out the emotion as fast and intensely as possible.

What happens inevitably, like panning for gold, is you get a few glistening nuggets. It may even be only one sentence, but that sentence will be choice.

There are other methods, but the great point is that doing this begins to develop a strong “voice muscle” in your writer’s brain, and you get better and better at it the more you exercise it.

 

PLOTTING (DiAnn Mills)

What makes a good plot? Do you advise authors to write to specific plot points (e.g., inciting incident, first pinch point, dark night of the soul)?

This depends on the type of plotter and the method the writer’s brain functions. I’d like to emphasize that the writer must work according to how their brain processes and analyzes story. With that said, I write toward:

1. The first open doorway which is 1/5 to ¼ of the way into the novel. This is where the POV character determines to go after the goal.
2. Mid-point, I toss in a wrench. In other words, something about the plot changes the story.
3. End of middle, the climax.
4. Resolution

 

ANTAGONISTS (Debbie Burke)

How does a good writer approach creating the antagonist character? Are there exercises a writer can use to develop their villain-creating talents?

A technique I like to use is James Scott Bell’s voice journal. Let the antagonist write out their thoughts, feelings, and beliefs. What are their deepest, most secret desires? Give them the opportunity to express their frustration, anger, and hatred. Putting their emotions into words helps the author get inside their skin and understand why they feel their behavior is justified.

Interview the villain/antagonist. Ask questions. What is their background? How did their parents treat them? Were they bullied or abused? What early losses or failures scarred them?

Another Jim Bell tip: have villains argue their case before the jury that will decide their fate. What compelling arguments can they offer to save themselves from the death penalty?

 

SCENE (Randy Ingermanson)

You also say every scene in a book is a miniature story. Explain that.

Every scene in your book needs to work as a short story. Every single scene. It must have a viewpoint character that the reader can root for (or root against). And it must have a single conflict that gets resolved by the end of the scene.

If you have even one scene that doesn’t work as a story, you’re going to lose readers at that scene. They’ll put the book down. And they’re done with that book.

So you need every scene in your novel to be pulling its weight. If a scene doesn’t work, then you have some options. You can kill the scene—just shoot it right in the head and throw its carcass to the wolves. Or you can fix the scene—figure out why it’s broken and solve the problem.

I have killed a few scenes in my life, but 95% of all scenes can be fixed. If you know how. And my book shows you how. One of the main reasons I wrote my book is to teach authors how to diagnose and fix a busted scene. (And also how to recognize a scene that works so you can leave it alone.)

 

EMOTION (Angela Ackerman and Becca Puglisi)

What part does emotion play in novel writing?

In some ways, emotion is the novel, because the words we choose will steer readers toward what we want them to feel. Is the noise emanating from that dark room a sing-song hum, a melody whispered to a child at bedtime? Or is it a slow, heavy scrape, conjuring the image of a monstrous axe blade being dragged across the floor? As the writer, we choose what we intend readers to feel, and shape our description accordingly. When we do this well, reading becomes an immersive, powerful experience.

To ensure readers are drawn in, though, we must make sure they emotionally connect to our characters first and foremost. We do this by revealing their human layers as they navigate the world around them, showing how they feel, what they need, want, fear, and think. When we do this well, readers connect to our characters because life is an emotional journey, and they find common ground. When we show what’s going on within a character, readers come to see them as someone real. They begin to empathize and become invested in what happens next.

 

DIALOGUE (Larry Leech II)

How does dialogue bring characters to life?

Individuality. Much has been taught about plot, structure, character arc, etc., but I believe readers love to hear a character speak. First, each character must have a distinctive voice. A fifty-year-old white male should not sound like a twenty-two-year-old female person of color. Even two teenage boys should not sound the same. Each has a backstory and moral center that dictates how they speak.

Think of the cinematic voices we know well. Whenever someone says, “Life is a like a box of chocolates,” we hear Forrest Gump. Or “No, I am your father,” we hear Darth Vader. Or “You’re gonna need a bigger boat,” we hear Chief Brody in Jaws.

Also, along with what I mentioned above about the importance of dialogue in story, dialogue also reveals worldview, syntax, and what I call “industry language.” For example, law enforcement and military personnel often say, “I’ve got your six (your back).” A plumber wouldn’t say that.

Along with action, dialogue helps the reader understand the character. And if done effectively, allows the reader to “live” the story instead of reading it.

 

DEEP POINT OF VIEW (Terry Odell)

Now, on to Deep POV:

Deep POV can be thought of as writing a first person book in third person. You are deep inside the POV character’s head, providing the reader with not only the character’s five senses, but also their thoughts and feelings. Because you’re deep into their heads, your readers should feel closer to the characters than if you have an outside narrator, as is the case in shallower third person POV. A test. You should be able to replace he, she, or the character’s name with “I.”

When writing in Deep POV, it’s also important to be true to the character. What would they notice? Two characters walk into a room. (No, that’s not the start of a joke.) One’s a cop; the other is an interior designer. They’ll focus on very different things.

 

ANTI-HEROES (Sue Coletta)

How do you define an anti-hero?

An anti-hero is the protagonist of the story, who straddles the law. Good people doing bad things for the right reason. Nothing is black and white. Anti-heroes thrive in shades in gray.

 

ROMANCE IN CHRISTIAN FICTION (DiAnn Mills)

Toss aside your thoughts about simple themes and tepid emotions that water down the love relationship between a man and a woman, Instead, think about how to include “real” elements and write an authentic and believable story.

• The joy of true romantic love is real.
• The emotions are real.
• The physical, mental, and spiritual challenges are real.
• The heartbreak of broken relationships is real.
• The struggle of adhering to God’s way of honoring each other until marriage is real.
• The blessings of obedience and a Christ-filled relationship are real.

Dipping our toes into the waters of writing Christian romance doesn’t mean we swim in shark-infested waters. According to the American Heritage Dictionary romance is “a feeling of excitement and mystery associated with love.” Love is “an intense feeling of deep affection.”

 

DESCRIPTION (P.J. Parrish)

How would you define descriptive writing?

Wow. That’s a toughie. Well, let’s start with a distinction. There’s explanation and then there’s description. Explanation is you, the writer, just dealing with the prosaic stuff of moving characters around in time and space. Explanation example: The man walked into the room. Simple choregraphy. Gets the job done but pushes no emotional buttons.

But description? That’s where the magic happens. When you work your descriptive powers, you engage the reader’s senses and imagination, maybe tugging on their memories and experiences. The man didn’t just walk into the room.  Rewrite:

The old man stopped just inside the door of the café. He was in his eighties, that much was clear. But as he stood there, erect and with a small smile tipping his lips, heads turned to him. It wasn’t just the panama hat or the seersucker suit. Because the hat was yellowed and his sleeves were frayed. No, we were staring at him because the air around him seemed to vibrate with an aliveness. He caught my eye and started toward me, and my throat closed. It was like looking at my father, the one I had seen only in photographs.

See the difference? The main purpose of descriptive writing is to show the reader a person, place or thing in such a way that a picture is formed in their mind. It means paying close attention to the details by using all of your five senses. Explanation vs description. When you explain something, you try to make it clearer and easier to understand. But when you describe, you’re tugging on their emotions.

 

FAITH IN FICTION (Chautona Havig)

For authors who are interested in including some faith element in their works, what advice would you give them?

I think the key is to reframe the idea of “putting faith into a book.” Instead, look at ways faith might naturally emerge from a character or situation.  That makes all the difference. Jesus talked about insides and outsides of cups. Polishing up the cup of your book to reflect Jesus doesn’t have the power that allowing Him to spill out onto the page naturally does.

The best way I know to make that happen is to fill yourself with Jesus. You can’t write what isn’t in you. Get into the Word. Study it. Talk about it with other Christians. Listen to godly teachers and then go compare what they said with what the Bible says.  I firmly believe that if you fill yourself with Scripture, it’ll come out in your writing and in your reading. You’ll get spiritual lessons from books that the authors never intended.  I know this because I can’t count how many times I’ve told an author, “When I read this and remembered that Scripture, I realized that this other thing was true.” MANY times the author says, “I never caught that connection.”  I got it because of what I was studying at the time. And God used that.  And that is the beauty of Scripture.

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A NOTE FROM KAY

I’m deeply grateful to all the authors who agreed to be interviewed on my blog in 2024 and to all the folks who dropped by to read and/or comment on the interviews. Best wishes to you all for a Merry Christmas and a safe and healthy New Year!

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If you’re looking for a last-minute gift, each of my ebook mystery novels is on sale in December for 99¢. Click on the image of a book to go to the Amazon sales page.

        

Walking with the Wise - A summary of wisdom from the Aspects of the Novel blog posts Share on X