Book Review – ‘I’ll Give You the Sun’ by Jandy Nelson

Art, identity, and secrets all mix into this masterful contemporary.

Genre: Y/A, Contemporary, Romance, LGBT,

No. of pages: 371

“We were all heading for each other on a collision course, no matter what. Maybe some people are just meant to be in the same story.”

At first, Jude and her twin brother Noah, are inseparable. Noah draws constantly and is falling in love with the charismatic boy next door, while daredevil Jude wears red-red lipstick, cliff-dives, and does all the talking for both of them. Years later, they are barely speaking. Something has happened to change the twins in different yet equally devastating ways . . . but then Jude meets an intriguing, irresistible boy and a mysterious new mentor. The early years are Noah’s to tell; the later years are Jude’s. But they each have only half the story, and if they can only find their way back to one another, they’ll have a chance to remake their world.

This was a surprise read for me. I had heard great things and noticed a lot of 5 star reviews but I kept away from all of that as much as I could. All I knew about ‘I’ll Give You The Sun’ was that the main protagonists were fraternal twins, a boy and a girl, where the male grapples with his identity.

I think the biggest surprise for me was the interconnectedness of this novel. Just about every point, seemingly irrelevant or not, has meaning. A symbolism, a prophecy, a reason for being. And because of that this novel has a strong interwoven web of plot and arc that kept surprising me at every turn.

And Jandy Nelson’s writing style was a delight. Such a lovely turn of phrase where the narrative deals a lot with art – Jandy’s writing was akin to art itself without being egotistical.

Told in alternating perspectives by our two leads – the twins: Noah, 3 years in the past, and Jude, his sister in the present. I think the theme that is most heavy in the narrative and rings true for all the characters is that we are all fallible and struggling to find our way through this messy life, and find that safe place where we are expressing our true authentic selves. Add into that all the dramatic and familial themes that can happen like love, sex, sibling rivalry, coming of age, the deconstruction of childhood innocence, and ‘I’ll Give You The Sun’ really shines.

Going into this novel with little prior knowledge I guessed at the main plot fairly early on, but it was never solidified as the diaphanous nature of symbolism and art weighing heavily on the narrative, there was always some doubt. But those early guesses came to ring true, but there was so much subtext and many, many arcs that grew around this main thread which provided such serendipity. I was transfixed.

There was one spot about halfway through the novel in a chapter from Jude’s point of view where the pacing lagged a little, but in hindsight it was setting up a number of plot points for the rollercoaster ride to the conclusion.

‘I’ll Give You the Sun’ wraps up nicely, a bitter-sweet ending with a strong sense of hope. It’s been a while since I last got a book hangover from a contemporary, and I highly recommend this. It has a delicate hand on some difficult topics and an interesting lens through which to view the world. I treasure this reading experience.

Overall feeling: My reading just leveled up!

© Casey Carlisle 2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Representation in Writing vs Own Voices

Many of the novels I’ve read lately represent diversity or own voices, which I have loved. So let’s take a deeper look into how writing is evolving in today’s market, and how much of the market share they actually represent… or are they just the latest fad? Is this reflected in my personal library?

Firstly, let me state unequivocally that I do not lump diversity or own voices into a marketing trend. Granted, they are being used as just that at the moment, but trends are an unavoidable phenomenon in driving book and e-book sales. We saw a surge in YA after the success of Harry Potter and ‘Twilight,’ then erotica in the wake of ‘Fifty Shades of Grey,’ followed by a push in non-fiction, primarily memoirs and autobiographies… and of late it’s been LGBTQIA+ and diverse characters (including own voices.) This observation has come from what genre of novels publishing houses are accepting for submission, and where I’ve seen the marketing dollars spent on for campaigns both online and in-store.

But I don’t want to get into a discussion on marketing trends and the publishing landscape, I’m more concerned with what we’re seeing in literature, and congruently, how is it reflected in my own personal library and shopping habits? I know the things I like to read, but am I a snob when it comes to novels that support diversity? People of colour, LGBTQIA+ characters, characters with a disability or mental illness, empowered female characters… I think it’s about time I survey my shelves and tally up just where I sit on the spectrum.

In addition to that, I grew up in a privileged household, am healthy, able-bodied, and only lived through some aspects of discrimination and illness. So it limits what literature is relatable to me personally. While I like to educate myself and take a walk in other characters shoes to experience walks of life differing to my own, it still needs to be something I can connect with on some level. So the results of this discussion are skewed because of my life experience. I can strive for political correctness and inclusivity, but by nature, I will never truly know what it is like for some minorities. But literature plays a huge part in breaking down those barriers. As a former high school teacher I can see the value in this.

Firstly, let’s take a look at my own shelves to get a sample size. I’m going to put my money where my mouth is. Though take into account that I’m only looking at novels that I have purchased and read myself over the last thirty odd years. So it’s encompassing a lot of marketing trends.

Here’s the results from a sample size of 400 novels:

Own voices                         12%    (including LGBTQIA+ and people of colour)

I feel it’s important to recognise an authentic point of view that’s come from a place of genuine experience. It shows not only diversity in representation, but also in that of authors. While I believe a writer can create any character they wish, I feel it’s important to acknowledge books that fall into the own voices category, because they did not have access to the publishing industry in the numbers they do today previously. It’s illustrating how reading and writing is evolving, and indeed humanity as a species. Maybe we’ll get somewhere closer to a Star Trek future than we think.

 

LGBTQIA+                           21%

(Representation in the main characters of a novel)

Disabled                               9%

(A physical disability of some description in one of the main characters)

Mental Illness                    20%

(One of the main characters suffers some form of mental illness and is one of the major themes of the novel)

Person of Colour              14%

(Representation in the main characters of a novel)

Gender Inequality           11%

(The major theme of the novel deals with female discrimination/inequality)

Body Shape                        9%

(Main Character has body size issues as a main theme of a novel)

 

 

A further breakdown of GLBTQIA+  – looking at representation in the spectrum of sexuality and gender identity of the main cast.

The main observation of these statistics, is that if I did not take into account the last ten years of reading, all of these categories would have a sum total of less than 5%. So there has been a massive explosion of diversity in recent years.

We’ve seen the trend of more intricate storytelling evolve throughout the entertainment industry. Film and television are exploring more developed characters and storylines, including diverse characters. Flashing back to some of the shows and books I’ve read in my teens, they feel stereotypical and tropey nowadays. At the time I felt they were amazing, but if reviewing today, I’d tear them to pieces.

Two things surprised me, and made me a little proud, upon looking at the statistics of my library, is that I have around 15-20% representation of most of the categories above. That means one in five books I pick up are representing diversity of some description. Which is statistically comparable to the real world population. I mean, I’ll be working on getting those numbers much higher, but for all the talk that the publishing industry was dominated by white middle-aged men in the 80’s, to being overtaken by women today, it says a lot about my attitudes towards inclusivity and humanity in general. It seems I sought out diversity even in my teens, despite it not really having become a movement for another twenty years, or much of a selection to purchase from.

One thing I want to touch on a bit further is that of own voices versus diversity. It’s kind of like saying only gay actors can play gay characters in film. Writing is using words as tools, just as acting is using expression as tools. It has nothing to do with the creator. I say you can do either. But. Where a person who has been discriminated against in the past has managed to break out and add to the wonderful world of entertainment, it’s important to acknowledge their struggles and change from that experience. Why should it have been a struggle in the first place? What can we do the make it more accessible in the future? It doesn’t need to get uber-political, it just needs to stay rooted in common decency and mutual respect.

Looking at my TBR, there will be a huge difference in the statistics in years to come. I’m seeing a lot of queer books, novels dealing with mental illness, disability, and people of colour. I might have to make conscience effort to include more dealing with gender equality and body image to round out my library. But it looks exciting!

What other genres or categories am I missing that you feel are important to note? I’ve thought about class and social standing, but that seems to be a very dominate storytelling tool. Maybe I can call out representation of fellow redheads in literature?

My Challenge to You:

Take a look at your library, how many novels have you read that fall into the above categories? What trends have you noticed in the publishing landscape? Do you even enjoy diverse reads?

Comment and let me know the results.

Happy reading

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Editing your novel

Blocking time and different types of editing – what does it take to edit your novel?

There are many types of editing that I’ve been exposed to, and not only do they have many names, but also overlap in function and many are re-visited in the publishing journey. There is no rule of what you must do, but it is advisable to develop your own process to have your manuscript publish ready. The more steps you include in your vetting process, the more professional your novel will appear. And we all want to give ourselves the best possible chance of success.

It can be daunting to hand over your book baby to someone else to critique, but I’ve put together some information that may help you view the process objectively and put you on the road to publishing success:

Contextual edit (Substantive or Developmental edit also called a Structural edit) – This type of edit is best done by a professional in the publishing industry. They should concentrate on story structure, organisation, coherence, logical consistency, relevance, continuity, world building, and character development. It’s ‘big picture’ thinking over your novel. To make sure it makes sense. That the basics are covered and you have a sound structure to build off.

This type of edit can be done on a partially completed manuscript, or a first draft. It’s about shaping the concept.

Story structure is about making sure you have a beginning, middle and end. Identifying the themes of your novel, its genre, and clearly plotting things out like the heroes (protagonist) quest and the obstacles they overcome. Ensuring a turning point (or points) and the climax of the storyline.

Organisation deals with a logical sequencing of your plot/paragraphs. You may switch and reorganise chunks of text to create a better flow to your story and cut other parts completely.

Coherence and logical consistency are all about making sure the story makes sense. That it follows a clear train of thought. That ‘voice’ or narrative style is consistent. Or that character perspectives are consistent and definitive from each other if including more than one point of view. This can also help identify tense, active or passive voice, show don’t tell, perspective (first person, third person, third person removed/omnipresent) and ensure each of these remain consistent throughout the manuscript.

Relevance refers to judging if the sentence/paragraph adds to, or drives the plot forward. Whether it helps develop the character, or sets a scene – otherwise it should be cut so as not to drag the pacing of your novel.

Continuity deals with the following up of events, mentions, dates, passage of time, names of characters and so on. For instance if you state early on in your novel that a character hides an object in a place, that it is resolved in some manner. Like tying up all the plot points. That Wednesday follows Tuesday. That the descriptors used for each character remains consistent throughout. This is a great step to eliminate plot holes and inconsistency within the physical world of your novel.

World building deals with how you introduce the reader to the rules, mythology, and description of the setting of your novel. How much is too much description? How much to suggest so the reader can use their imagination to fill in the gaps? This is important to ground your story and create a set of parameters in which your characters interact with each other and their physical environment. Again, show and don’t tell usually come into play where you are uncovering facts about the characters surroundings, or getting to know other characters through experience rather than a long paragraphs of info dumping.

Character Development is also an important aspect. You want the protagonist of your story to be impacted from the obstacles he/she/it faces and change from the experience. This also ties into motivation of the character – why do they do the things they do? What is driving them towards the goal/climax of the story? It not only adds for interest for the reader, but gives a sense of completion and the ability to connect with the character through a shared experience. At this time attributes of a character can be addressed. Aspects like race, gender, sexual orientation, special abilities, able-bodiedness, financial resources, social hierarchy, mental/medical ailments or disorders, physical characteristics, age… elements like these help paint a more realistic picture and add interest for the reader.

Word count – Depending on your genre, how you are publishing your work, and market trends, it may be identified that your manuscript may be too long or too short. In this stage of the editing process you will need to identify a word count goal (usually decided by your publisher) to work to. Publishers use this to not only stick to a budget when dealing with the cost in printing, or to meet an expected length commonly accepted by the targeted demographic. Word count will differ per publisher, genre, target audience and relevance to your manuscript.

A professional can complete a contextual edit from anywhere between three days to a couple of weeks depending on the length of your manuscript and how much work is needed. Editors also charge per word, so be sure to get a quote before committing.

Line edit or Copy edit – Where the abovementioned edit deals with larger issues of the story and structure, a line edit, or copy edit deals with intricacies in how it is delivered. Issues like grammar, style, repetition, word usage, and jargon come into play. As does relevance (again).

Grammar focuses on sentence structure, the sequence of words and their meaning. Style refers to the tone and feeling that your writing as an author invokes – something that is unique to your expression. Repetition looks at eliminating common words that frequently appear in your manuscript so that you don’t bore your reader with overuse of particular words. You can either rework the sentence or replace a word with a synonym to add interest and keep flow. Word usage usually refers to ensuring you are using a word in its intended context, that it makes sense, and that it does not confuse the reader. Jargon (and slang) can be polarising – depending on the intended format of delivery of your novel (i.e stream of consciousness) Jargon and slang are usually confined to dialogue, however if deemed appropriate, can be used in the narrative. The reason it’s not common practice is that because of the different culture and backgrounds of readers, you will be limiting your audience to those who are familiar with the jargon/slang you are using – and it messes with the voice and tone of your novel. Letting the reader create that in their own mind will help them relate to and connect with your novel. Excessive use of colloquial words may isolate your story from its intended market. Again relevance comes into play – ensuring each paragraph helps to drive your story forward and is not weighing down the pace of the novel.

A line or copy edit from a professional usually can take anywhere between three days to a couple of weeks depending on the length of your manuscript – as also will a content edit, or proofreading.

Content edit – Depending on the style and genre of your novel, checking on factual information and their sequence i.e. dates, places, references; fact checking may be of high importance. You want to make sure all of these things are correct. It adds trust, integrity, and professionalism to your name as an author. This type of edit is especially important in non-fiction.

Proofreading – Is done after the above edits are completed. Proofreading is a light form or editing primarily used to pick up minor errors: grammar, capitalisation, punctuation, spelling, and word usage. This can be done by anyone with a high competency in the language in which the manuscript is written, and who has knowledge in the topics mentioned in the novel. Obviously a professional is more adept and identifying errors and suggesting corrections.

Formatting – This step deals with text, ensuring layout is appropriate for the medium in which it is being delivered (i.e. script, novel, electronic media, etc…) You determine how the words will appear on the page/screen. Font size. Whether you are having chapter headings or artwork. Number of pages in the printed copy. Content to be included in the end pages. Margins from the edges of the page or screen. It’s all about the physical appearance of your manuscript.

Formatting takes as long as it takes – it is dependent on technology, software, and process for the intended delivery. But it should not take any longer than a few weeks at most.

Critical Partner – It is important to have at least one critical partner in your writing process. More if possible. A critical partner is usually another writing professional who writes in a similar genre as you do to help identify issues in pace, relevance, structure, impact, plot holes, potential triggers, flow, tense, and narrative style consistency. Commonly in the form of writer’s groups (or online groups) where you swap work for a critique for free. Its authors supporting fellow authors. It helps to have friends or professional associates within your industry, not only to become a critical partner, but also to be a resource of information, emotional support, and even a mentor in your writing process.

Beta reader – This type of editing comes at the end of the process mainly to determine the impression your story makes, or market reception predicted after publishing. Beta readers usually aren’t professionals, just readers for your intended demographic that will give you feedback on how your novel will be received. This can offer valuable insight of tweaks and issues that may have been overlooked and a valuable resource before spending time and money on publishing and marketing your novel.

The time it takes for a beta reader to complete offering feedback varies depending on their available time and reading speed. Some can get back to you in a couple of days, others can take longer than a month. But use understanding and manners when dealing with beta readers as they are usually doing it out of kindness. I usually touch base every few chapters for feedback while it is fresh in their mind with a list of questions on hand (and it keeps track of their reading.)

I’ve listed the types of editing in the journey towards publishing in a logical order, but of course you may cycle back up the list, or jump down depending on your needs, resources, and state of your manuscript. It will also depend on if you are following a traditional publishing route, or choose to self publish; and well, how much money you want to invest in this step.

Editing services can be expensive, and you need to identify an editor who works with your writing style. You can find editors endorsed by your states/countries publishers and writing associations on websites. Usually they are registered and vetted for you, and you can send a chapter or two as a sample to see if you are happy with their style and get a quote for your entire manuscript before deciding on services. Critical partners may also have suggestions for different types of editors you can use.

Sending your work out for critique can be scary, but you have to develop some objectivity and a thick skin to give your book baby the best possible chance to succeed. Do your research and take the time to get it right. I find this list (and process) handy in the writing process for self-editing – so I have the manuscript as polished as possible before sending it out to a professional. Hopefully to reduce the number of times I have to pay for services, and flex and grow my writing muscles.

What is your editing process? Do you have any resources you can recommend to fellow writers?

In the meantime, happy editing 🙂

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Re-vamping an old manuscript to make it culturally relevant for a present day release.

Can you polish an old turd?

I read through an old manuscript the other day and still really loved the story. But given it is one of my earliest attempts at writing a novel, it is rife with inexperienced writing and pop culture references from the 1980’s. So can you rescue an old story without completely re-writing the whole thing…? I’ve given it a bit of thought and listed some things below to consider in giving on old piece of writing a new lease on life.

Firstly, deciding on an era. Maybe I want to keep it set in the ‘80’s. It is certainly on trend right now. What was once a current and relative setting is now historical fiction? But I was cringing with the use of snail mail and landlines, and feel the implementation of email, webcams, and mobile phones would help in the pacing of the novel so that it is not tied down with too many details – and can eliminate some locations for a better feel and flow. It’s a personal preference, but I agree that the story would benefit from this. Again, as an amateur writer all those years ago, I hadn’t learnt to get rid of details not relevant to the plot – so this will help a lot.

With setting it in a more contemporary time, all the pop culture references will need to be current – and easily identifiable. So bring on the research! What falls into this category of relevance and well-known, and will flow with the narrative? This can be fun, it means lots of television, movies, and scouring the internet.

Another big thing, and which seems to be on trend at the moment, are diverse characters: anti-heroes, women of colour, a spectrum of gender identities and orientations, differently abled characters, people living with mental illness… and the list could go on and on. We are seeing authors taking risks and exploring the human condition much more than ever before, so ensuring your cast is representative of the real world can only add interest and complexity. My earlier writing reads flat and is full of stereotypes and tropes – because that was all I had exposure to back then. So switching up my protagonist and supporting characters can only be a massive improvement.

I am also able to identify issues with pacing much more easily these days. Due to experience. The floundering, flowery writing of this early piece is in desperate need of some tightening up. I go paragraph by paragraph asking myself these questions. It this relevant to the plot, the scene, or the character’s motivations. If the answer in no, it gets cut. Can I express this in a shorter, more meaningful (or punchier) sentence? In this manner, I can also address grammar, spelling, tense, active/passive voice, and eliminate too many adverbs.

Another attribute of my early writing is the simplicity in plot. It is predictable and tends to only deal with the protagonists outcome. So adding in some story arcs for secondary characters, a bit of their background to support their motivations to favour the protagonist sounds appealing. Then brainstorm twenty ideas for some plot twists and decide on a few…

And hopefully you have a much improved manuscript. Beta readers will let me know if I’m on the right track.

Have you tried to re-visit some of your old writing and breathed some new life into it? What tools helped you?

In the meantime – happy writing and editing.

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

How reading sub-standard and low quality novels has bettered my writing…

…and things to look out for when I publish my own book.

I see it all the time on Goodreads, readers DNFing a novel, and a review of a sentence or two saying how horrible the writing was. And that’s it.

Good for them. I’m not knocking anyone’s opinion. I’ve tried to give up on completing a novel, but my brain won’t allow me. I at least have to skim through so I can find out what happens and reassure myself that what wasn’t working continued throughout the book.

The biggest aspect of my OCD with reading is that I now turn even the worst reading experience into an educational endeavour. There are always good points and bad points in each story. What worked, what didn’t. I like to list how I would improve the novel as if I were an editor and about to publish the book under my own label – what changes would I want to make in order for me to sign my name to the title?

It’s helped develop a critical eye, and use these tools on my own writing.

So I welcome low rated novels in my reading habits. (But not on purpose.) It helps to hone my skills, pick up on things I hadn’t previously thought to identify in my own writing, editing, and publishing processes. Things like complex characters and character development, spelling and sentence structure, pace and tension are a given. But I have found elements in context, and writing style that I hadn’t noticed before. Issues with cover art, formatting, font size and style, information for the end pages, the quality of the physical book are starting to jump out more and more. Especially for self-published titles.

It has re-iterated how important it is not to rush the publishing process. Steps to take to vet and proof your work. And skills in marketing and market research you need to acquire to help make your writing a success.

I am slowly compiling a checklist for the whole writing to publishing process to put my own work through. Granted it is going to grow and evolve over my career as I gain more experience and insight.

I’ve heard some of my friends say that it is a useless endeavour to read low rated books – that I should be focusing on top quality literature as something to aspire to. What’s wrong with doing both? I find glaringly obvious issues with my low rated book reading that I would have otherwise overlooked in top rated books. It’s like brushing up on the basics. High rated books give me examples of nuance.

It also helps stretch that editing muscle – a must for your own writing process. And helps to create not only a critical eye, but gets you in a frame of mind to distance yourself from your own writing. So heavy cuts and rearranging aren’t so gut wrenching. It helps you identify what is lacking so you can get that second draft even more polished.

It’s not about tearing down other authors writing, or striving for perfection in your own. It’s more about exercising the essential tools you need to improve the creative process. Creative flow is one thing – having it make sense and relate to a reader is an entirely different thing. That’s why we have rules in language, spelling and grammar; to help set a standard that everyone can build from.

So when I read something that makes me cringe for all the wrong reasons, I’m glad for the opportunity to identify what is not working for me and go about fixing it. Then I can mirror that exercise on my own content. It will help me grow – and hopefully keep the professional editing fees lower 😉

What is your opinion on completing novels that feel like a dog’s breakfast? Are you one to scrap it in and not waste your time, or do you at least have to see what happens at the end?

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Plotting out a series

How to keep pace and interest in a multi-book series and avoid the middle book slump syndrome.

The key to this is planning. And plotting. (…well for the way I work anyway…)

The goal is to have each book in your collection have a clear start, middle, and end. Have the hero/protagonist state a goal and achieve it (or not, depending on the tone of your story,) have their character grow and evolve from the experiences. The climax must be poignant and get resolved enough to satisfy a reader.

You can end on a cliff-hanger, or have some plot points unresolved to continue in the next book/series.

In the sequel/s you follow the same format where you also introduce new characters, new plot points, more twists and turns. You really want to up the anty and difficulties the hero/protagonist faces.

I like to plan out most of the basic plot points for the books before I start writing anything so I know where I can start to add in character arcs, plot twists, turning points, in a linear fashion. That way you can identify organically where part of the story breaks… and these breaks can constitute each novel in your collection.

Even though this is an example of a single book in the Hunger Games series, the themes run across all three books – try continuing the graph for  the remaining books and you will start to get a feel for how to plot over a series.

 

A hero’s quest is always a great example for a series – in each book the protagonist faces a major obstacle/s on their journey for completion of their desire.

Maybe each novel reveals something that has our protagonist re-assessing the situation and going in a different direction, or towards another goal.

It could also be more of a contemporary tale with each novel dealing with a milestone in the protagonist’s life.

The important thing is that each novel is a complete tale in its own right, and the subsequent sequels build on the world and tension that was established in its predecessors.

Also it is important to keep the consistency in the writing style. If you change perspective, writing for a different characters POV, and the debut was in first-person narrative, continue with that for the sequels. Comparatively you need to continue with the same tense, active/passive voice. If you switch things up too much, the ground work you’ve established in the prequel/s becomes redundant. Readers are going to expect consistency, and breaking from that pattern is only going to disappoint – and end with bad reviews.

Having these basic ideas plotted out at the beginning keeps your narrative on track and allows you to chart the pacing of your novel. It also gives readers a subconscious hint of what is to come and will keep them engaged in your story.

Of course you don’t need to plot out an entire series before starting to write. It could be when wrapping up your novel you get ideas for a sequel because there is more you want to explore in the universe of your story… there is no set way to do this sort of thing. It’s basically finding something that works for you and sticking to it. But I personally like to have a guide. That way if I want to have fun developing my characters, building my world and adding in some engaging side plots or character arcs, there is room to play without turning my manuscript into an epic Stephen King length novel.

Again creating a series is only restricted by your imagination. We see series coming out set in the same universe, but with new characters – like novels set in the same town. Series taking on different perspectives of a core cast. Series of a protagonist overcoming a number of obstacles on their way to a single goal (think Harry Potter.) Generational series, following a family tree, each novel dealing with a protagonist from each generation. Maybe it’s simply following a character and each novel is a romance with a different love interest… Allow your writing to become a piece of art and don’t be afraid to experiment.

Hope these tips help in inspiring your writing and organising methods to keep you creating great novels to read. Let me know what helps you in plotting out a series. I love tips and would be forever greatful.

Happy writing everyone 😀

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Writing characters – ensuring your narrative ‘voice’ is different for each point of view

 

Firstly, ‘voice’ is a somewhat ambivalent word that describes the feeling, tone, or personality behind the writing. For instance an author, or characters voice (or writing style) could be described as witty and sarcastic, direct and to the point. An author finds their voice when they develop a particular way of writing that is distinct in all their works. It has something to do with common word use, sentence structure, and the impression that is left with the reader after reading their stories. Comparatively, a character’s voice is similar in that it is distinct to them, and sets them apart from the rest of the characters in your story.

The way I ensure my characters are distinct from each other is always identifying their background, identity, and motivations first. From there I may list words or phrases that are common in their dialogue. Maybe a certain way of acting, physical ticks, disability and/or phobias. Do they suffer mental illness, discrimination? All of these aspects play on how a character behaves and lets you develop a style that is unique to each member of your cast.

Why is this important? Well you want your reader to clearly identify who is speaking, or from which character’s perspective the narrative is delivering from. It avoids confusion and keeps the reader engaged.

You don’t want to have to write “so-and-so said” after each line of dialogue. It’s unnecessary and kind of amateurish. It shows intelligence and great writing skills if a reader can immediately identify which character said what line, or from what perspective a narrative is taking from a single sentence or two.

I’ve experienced reading some novels where I’ve had to go back and re-read half a page because I wasn’t sure who was speaking, or which character was controlling the narrative. It’s frustrating and takes you out of the story.

My experiences in working as a screenwriter amplify this device even further – writers quickly identify if the dialogue is representative of the character in the script. It’s not uncommon to find them repeating catch phrases, inventing slang, and word chains. For example Lori in the ‘Glimore Girls’ was always using dialogue that was intelligent and chock-full of long thesaurus-sourced words. This type of dialogue was representative of her passion for knowledge and love of having conversations with her mother. Or even Giles from ‘Buffy the Vampire Slayer’ where he would have fatherly advice, broke things down for simple explanations. While he is also a bookish, intelligent character, his motivations were different. On the reverse side of things, Giles became a bit of a characture of an English gentleman, so that is something to avoid unless you are writing for comedic purposes.

We tend to create a voice intuitively to some extent. There is already a person realized in our head from which we are writing. But in order to really nail voice, we need to take a step back and look at our manuscript with fresh eyes and involve as many tools as we can to separate our characters. The clearer you are, the more understanding your readers will have. Our target market comes from a wide variety of backgrounds in culture and education, so the more distinguished you can make the voices of your cast, the better. And it also provides you with a diverse cast – giving a plethora of characters that your reader can relate to.

A handy tip could be to pin up a few character profiles on your wall. Pictures and notes that are unique to your character and their motivations – what is driving them through the story. Then in the 2^nd draft stage (so not to ruin your creative flow when getting the bones of the story down) start applying those attributes to every presence the character has in your manuscript and ensure it rings true to their profile.

Of course there are many other ways to differentiate voice – maybe a more physical approach by changing font for each perspective when printing your novel, or definitive chapter headings with the character’s name… it’s up to your own preferences, your creative process and expression, and the tone you want for your book. Don’t be afraid to experiment in the beta reading/testing process and gauge reader reactions.

What tips do you use to help create your voice? How do you create a distinctive style for each characters perspective? I’d love to hear about other methods for cultivating voice. Comment below.

And in the meantime, as always, happy writing 🙂

© Casey Carlisle 2018. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Book Review – ‘Fly on the Wall’ by E. Lockhart

A cheeky contemporary for younger audiences that has commendable insight on injustice.

Genre: Y/A, Fantasy

No. of pages: 182

From Goodreads:

At the Manhattan School of Art and Music, where everyone is unique and everyone is ‘different’, Gretchen Yee feels ordinary. It doesn’t help that she’s known as the girl who sits alone at lunch, drawing pictures of her favourite superhero, just so she won’t have to talk to anyone. Her best (and only real) friend is there for her, but that’s only if she’s not busy – she’s always busy! 

It’s no surprise that Gretchen isn’t exactly successful in the boy department. Her ex-boyfriend is a cold-fish-sometimes-flirty ex who she can’t stop bumping into. Plus, she has a massive crush on a boy named, Titus but is too scared to make the first move. One minute he seems like a sensitive guy, the next, he’s a completely different person when he’s with his friends. She can’t seem to figure boys out!

Gretchen has one wish: to be a fly on the wall in the boy’s locker room. What are boys really like? What do they talk about?

This is the story of how one girl’s wish came true.

‘Fly on the Wall’ is a fun contemporary with a magical realism twist.
Gretchen, our protagonist, feels like she is on the outside of everything and everyone at school. Like she’s in a holding pattern for life. Stagnant. Biracial and not quite arsty enough to be one of the Art Rats, and not generic enough to fit in to a normal crowd at a regular high school, Gretchen feels trapped.

When her parents break some big news, and she is frustrated about things going down at school. Gretchen  wishes she could see what goes on behind closed doors, get answers that seem hidden from her… and then it happens… literally! She becomes a fly on the wall, stuck in the boys locker room. She gets to see them naked, their “gerkins” up close, and all their emotional politics laid bare. It’s pretty hilarious and cool.

It gives Gretchen perspective. A look into other people’s lives at their most
vulnerable. And she learns some lessons. As well as some valuable truths that will help her out of the rut she’s been in.

I love the language and narrative style. Though, ‘Fly on the Wall’ has a simplistic plot and targeted to younger audiences. The storyline is not much of a mystery and fairly predictable; but fun and witty. This was an enjoyable quick read with loads of character development.

I loved how it tackled discrimination, machismo, and archaic views on patriarchy, and ultimately instigated change.  Also, I liked how it explores female sexuality and how it’s okay to feel want. To feel horny or sexual attraction. Not an awakening, just an awareness and acceptance that we are all humans and have desires. Refreshing for a YA novel to deal with sex, desire and body image without being sexualised.

Overall feeling: weird and surprising.

 © Casey Carlisle 2017. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Please stop! I want to get off!

Spinning, spinning, the world is shooting past at break-neck speed and all I can do is dig in, hold on tight and hope I don’t get flung off before I can get to the end of the ride.

I’m still staring at the calendar in disbelief that October is here already. I see how much time is left of 2016 and then gaze over the monstrous ‘To do’ list and have a mini freak out. Have I been sitting on my expanding posterior all year?

The truth is, no I haven’t. Upon review, I’ve been accomplishing quite a great deal, in writing, editing, reading, and other stuff called life of less importance. It’s the addition of death and funerals, major house renovations, health issues, and the state of being human which has heaped a large helping to my plate – I’ve been gorging myself!

So I’m having a slightly delayed mid-year freak out.

If you have read any of my previous blogs centred around my writing life, or life in general, you’ll know I’m a big list maker. I love setting massive goals, and am a little OCD about getting things done. What I wasn’t prepared for was the continual addition of other bits and pieces preventing me from reaching my rather lofty writing goals.

It’s now the third year in a row I’ve experienced mystical happenstance of “life” and it’s getting ridiculous. Is the universe playing some practical joke on me? Universe?

I’m not some big adventurer, or have a demanding, high-stress career; and I moved to the Sunshine Coast to simplify life and concentrate on writing full time. I have a time limit to reach a modest goal, because if I fail to meet said goal, I’ll be returning to full time employment. (That’s the deal I made with myself) I’m confident about breezing over the finish line, but I was expecting to have more done this far into the journey. I haven’t had so much happen to me with in a few years. Like, ever!

Did the Universe conspire – right, this girl looks like she could handle more, let’s shake it up a bit.

I wish I had the power to stop time, or travel back in time, or work fast like The Flash, maybe the ability to duplicate myself, and have clones working on other projects simultaneously. There is never enough hours in the day. Especially with the extra helping of other life stuff which have nothing to do with writing…

When I look back over the past five years, it’s been five deaths in the family, one each year, two relocations, one redundancy, and a number of road trips across Australia. I’m not whining or having a rant, I just think I’m taken a little aback at what’s been going on. Am I at that stage in my life where relatives start dropping like flies, the body starts to show it’s wear and tear, and just about everything you own needs to be replaced, renovated or restored? No wonder people have a mid-life crisis when the world starts to crumble around you. But I’m optimistic. It’s an instrument for change, for new exciting challenges… and ultimately inspiration for my writing. I’d never written about grief or loss, I’d never described some of the landscapes and experiences I’ve recently had.

It’s all good!

So while I’m loving life, embracing change, Universe, can we please hit pause on dropping those bombshells? While I’m enjoying the feast of wonder you are providing, I just want to finish a bit of writing before the next adventure.

© Casey Carlisle 2016. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Writing Prompts and Getting the Job Done

I’ve never had a problem with writer’s block – I’m quite capable of getting words on paper. What I struggle with is completing projects…

Whether it’s a blessing or a curse, I get bombarded with ideas for other books or writing projects. So much so I have an extensive back catalogue of things to write, manuscripts to finish off. But my list of completed projects is dismally low. So I try and find ways to keep the momentum and inspiration going to get to the point where I can finally type “The End” but it’s not always easy.

Here are the top ten ways that have helped:

Basically re-immersing yourself into the story.

This also helps me in developing plot, character and arcs… I like to think of it as dotting my i’s and crossing my t’s.

In the past on a certain W.I.P, the creative flow just stopped. I could have kept on writing to the scripted plot, but the narrative was becoming uninteresting, and I was finding it hard to keep the motivation going for the project. So I daydreamed about a number of what-ifs, and ended up with a major story arc that added the zing I was looking for to complete the story. So sometimes it pays to step back from your plot and ‘pants’ it for a while – you may turn up storytelling gold.

I always have a collection of things for a writing project. Pictures of people for the cast, high school timetables to track the passing of time in the YA novel, snapshots of places, rooms, a collection of dialogue and quotes… I like the tactile experience in world building before I even start to plot out my story. Live in that headspace for a while, that way penning out my story comes very easy. And when I need to re-visit that place to stir up my creative juices, or think through a roadblock, it is easy to step back in to my characters’ world and tap in to some mojo.

Some of my best ideas have come out of a conversation on my W.I.P. – even at the conceptual stage. You need to stimulate your creativity, and bouncing ideas of others is a great way to gauge if you are on to something or not. Plus, if you’re talking to the type of person who is your demographic, it’s a double whammy of goodness – market research and inspiration in the same place!

This always gets me going. Designing an interim book cover and promotional material helps to build realism that the manuscript is drawing to a close. It also helps switch your brain into marketing mode. A sentence that would be a great quote with a picture, or a tag line for your book. Eye-catching images or graphics for websites or title pages. It also helps you to view your manuscript objectively – identifying the key components that are great hooks for selling your book – a ballsy heroine, an underwater seascape, a new magic system, an epic love story… these will become very important when you are getting to the stage of pitching and publishing your work.

I suffer from an all-too-fast brain, and slow fingers. I can never type fast enough. And often skip parts of the narrative that put my story in context so it all makes sense. Like I was talking about the landscape whizzing by my main character in one scene, but neglected to state she was driving in a car – otherwise someone could have assumed she’d suddenly developed the ability to fly… most of the time it’s little obvious things like that you pick up after taking a hiatus from your manuscript. Beta readers can also provide this kind of feedback, but I like to have my work as polished as I can get it before handing it over for critique, so I can focus on flow, pace, character development, relatability, engagement, and predictability.

I get a buzz when I can tick off a box. And with a novel being such a massive project that can last (in some cases) years, getting that high from a small milestone in the process is invaluable to keep the motivation going. Plus, I am always working on more than one project at a time, and it helps me to track where I am on each manuscript at a glance.

Many, many times I’ve seen that glazed look fall over people’s faces when they ask me what I’m writing. I’m so excited, I just keep rabbiting on and on… So a succinct, attention-grabbing pitch – A SHORT ONE – is key! Working on it early gives you time to fine tune it and test it out on family and friends, because when you start to deal with the public (potential customers) and industry professionals (agents and publishers) you know you’ll have it down pat and can speak with confidence. It also helps to stop you from veering off on tangents with your plot if you ‘pants.’

For some, this can feel like being dragged over broken glass. It’s foreign and scary. But if you want to be a career writer it is imperative that you educate yourself about the industry. Look into how a book is made, the types of finishes, what end pages are; What agents you could contact for representation and what their guidelines for submission are. Publishing houses that market books similar to what you are writing, and what they do to promote them. Send out samples to editors to find the one that works best with you (and in a price range you can afford). Collect promotion and marketing ideas – there’s a lot of things you can do yourself that cost nothing but your time. You NEED to have your own marketing plan; a publisher will not do all the work for you. Check out local resources, writers’ groups, bookstore launches… the list is only as limited as your research.  It’s important for you to know what sells, how it sells, and how to navigate the professional landscape you’ll be entering once you’ve completed your manuscript. Handing over your novel to a publisher, or self-publishing online alone will not return many sales. You’ve put all that work into writing a masterpiece, do it some justice and make sure you give it the best opportunity to shine.

Every little bit helps 🙂

Happy writing and all the best on your journey!

© Casey Carlisle 2016. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.