I know, I know. Many people prefer
hardcopies over eBooks. Many writers and publishers will say you should have a
hardcopy or paperback available with your eBook.
I agree…if you’re satisfied
with your reviews. I realized this recently. I’ve published too many premature
books that got just okay reviews but not super-satisfying ones. So, I removed
them from the market. However, only the eBooks are gone forever. Sadly, the
print books will be there for the rest of time. Amazon and other retailers list
print versions for third-parties to sell copies, even if the author removed
them from the market. And if the paperbacks and hardcovers are listed permanently,
the reviews will be there forever.
Now I have a bunch of books on
Amazon that aren’t available anymore (except maybe from third-party sellers) but
will never be taken down. I hope it doesn’t ruin my reputation as an author.
That’s when I started to give myself
a new rule: no print copies may be published unless I have at least a few reviews
that are very satisfying—not just so-so. That way, if I’m not happy with
the reviews, I can remove the eBook and the listing shouldn’t stay up.
If you’re traditionally
publishing, this might not work as the publisher will have the rights. But if
you’re self-publishing, then I would highly recommend this, even if you send
out pre-publication copies and they’re all satisfying. That excludes people you
I have an eBook on pre-order and
it’s the third time publishing a particular story that has only okay feedback
the first time and even the second time, despite the drastic changes I made. I revised
and removed even more material in this third edition. I am still nervous about
the reactions, both before and after publication.
Hopefully, the reviews will be
more pleasing than ever. But if they’re not, I will know what to do.
My handwriting has always been sloppy. I have also written
big and not very quickly. Sometimes, in school, I fell behind in handwriting
I also have preferred to handwrite my stories at times. Why?
Because there are no computer distractions, such as the internet, and I found
my handwriting speed to be, ironically, faster in recent years. However,
because of the quicker motions, my hands often hurt. So I couldn’t write as
much as I wanted, even if I abbreviated things (i.e. u for you).
I discovered shorthand writing when looking up ways to
hasten up my handwriting. At first, I was resistant to it because I felt it
would’ve involved too much work. But boy, was I wrong. It didn’t take a very
long time to learn. In fact, it almost became a default habit.
I started out with writing the alphabet in shorthand. Then I
wrote short phrases such as “I love you” and “happy birthday”. After that, I moved
onto short songs that don’t repeat phrases and that I knew by heart. Although
it was no longer holiday season, I translated the lyrics to “Rudolph the Red-nosed
Reindeer” into shorthand. Hey—no one was going to see it, anyway. Nor would
anybody know what the sentences said. I also translated a couple showtunes into
shorthand. Finally, I did entire first pages of books, such as “Diary of a
Wimpy Kid” and “Harry Potter and the Sorcerer’s Stone”.
Due to other things happening, I haven’t used shorthand
writing in a long time. However, I will come back to it. It’s good to keep up
with something that can expedite your handwriting, as long as you don’t have to
share the works with other people.
Many authors base their characters off of people they know.
A high percent of people also base their stories off of real-life experiences.
However, I am different. I rarely or never do any of those things.
One: I find my life experiences too ordinary and
straightforward. Two: I find it more exciting to make them very different from
For example, the MC of my novels is Irish Catholic, blonde,
and has had a tragic life. I am Indian and Hindu, dark-haired, and has lived a
typical life with hardly any tragedies. I lost my paternal grandpa when I was 2,
so I don’t remember him. My maternal grandpa died when I was 22 but I didn’t
cry. I only experienced shocking pain for a few hours. That’s really it for the
sad moments in my life.
I could explain my MC’s tragic life. But that is within the
novels. You can find them through reviews, excerpts, or if you choose to
purchase the books.
Anyway, I find varying and differentiating things far more
fun than making them like me. After all, the world would be a boring place if
we all thought the same things, even if that meant little to no conflicts. I
could be wrong, though.
Differentiating characters from myself also opens more room for
growing knowledge, even if that means extra research. If I wrote about Hindu
characters, I probably would not have to do as much research. But I would also
get bored. And if it’s boring to write, it’s usually boring to read.
While I rarely make characters similar to myself, I never
base them off people I know. But that will be for another post. That being
said, I do give some similarities occasionally, such as food tastes. Overall,
though, I differ from other writers.
Have any of you wrote something and didn’t realize anything
significant about your work until long
after? I have. They are symbols and messages I didn’t discover until a lengthy
time after writing the projects.
For instance, in my first book, “The Frights of Fiji” (formerly,
“From Frights to Flaws”), there are mermaid-like women, but with dolphin tails,
who sing certain songs as a way of informing others of their presences. Those songs
ended up relating to the situations they were encountering or leaving.
In my second book, “The Uncontrollable Curse” (formerly “Wizardry
Goes Wild”), my MC wants her dog to attack the antagonist, who is a skeleton. At
the time I wrote the story, I tied that dog vs. skeleton situation with historical
context—not because of the “dog-eating-bones” stereotype.
Another unintentional message I ended up making in that
installment was about history repeating itself. I’m not going to spoil anything,
of course (“The Uncontrollable Curse” hasn’t even come out yet), but the book
does tie a lot of Puritan and Salem Witch Trials content. My MC is cursed with involuntary
magic. When she does it, others misunderstand and become afraid of her. This
ties to how people during Pilgrim and witch hunt times were miscomprehended and
feared when they were just different. While people who were found guilty of
witchcraft were hanged and/or burned, the “witch” (my MC) is penalized for her
sorcery by getting detention at school, suspended, excluded from activities,
and more (I won’t give away anything else).
I have yet to discover any accidental messages or symbols in
my third book. But hey—it might happen.
Ah, characters: you’ve got to love or hate them—or have some
opinion on them. They also shouldn’t be perfect. The hero should do wrong
things and get disliked at times and the villain should get liked at times.
However, this is super-difficult—at least for me it is. I
have a tendency to protect my main character in my novels. I like her a lot. I
feel sorry for her. And because of those, I tend to make her hardly flawed. At
most, she may do a few wrong things
and at milder levels. The worst she has done in my book series was unauthorized
filming and lying about not doing it. That’s actually a serious offense.
Anyway, I’m probably not the only writer who has trouble making certain characters flawed. Of course, there are characters who are unfriendly, but not evil. And obviously, there is conflict in my stories. But I think I know why I have difficulty getting my protagonist to misbehave.
One: it wasn’t until the plot of my first book’s first
edition was nearly complete when I found out that protagonists should behave
badly or do wrong things. When rewriting my first book after removing it from
the market, I couldn’t make my main character more flawed as the major elements
had already been established. Two: I have recently become very uncomfortable
around conflict. Not just in real life, but also in fiction. Yes, I have
stopped certain books and movies because I loathed how the characters were being
treated. Now while writing my third book, I have no plans to make my MC do
really bad things. Yes, she won’t be perfect. In fact, she will have trouble controlling
her emotions. But I will stop there on that.
Writers fall in love with their heroes. They become attached
to them. So they may have trouble making them behave badly. However, someone
told me that the best books have characters who misbehave a lot.
Now if you’re creating children’s stories, there are limits
to how badly the characters can act. Of course, it would be acceptable (and would
probably engage readers) if the protagonists started food fights at school, got
sent to the principals’ offices, and were punished by their parents. However,
you could not have them do something that would be inappropriate. Not just
drugs or drinking, but also activities that could lead to death or serious
injuries. Otherwise, parents won’t want their kids reading your books.
Do you notice that lack of perfectly behaved characters in
fiction? Most likely. And that’s because people want flawed characters. In
fact, sometimes that’s essential to the storylines.
I’ll give a few examples from Disney movies. In The Lion King, when Simba talks to Scar about that shadowed area that his father forbade him to go, Scar says that only the bravest lions would enter. “Brave” is the big, main keyword. That was what encouraged Simba to check it out, and, of course, that led to conflict crucial for the plot. If Scar had said that only the dumbest lions would go there, Simba might not have gone because he wouldn’t have said, “Well, I’m dumb.” He was in too good of a mood to say such a thing. And then, there would have been a lot less conflict. And without enough conflict, the story would’ve been dull, and the film would’ve drastically failed—or maybe not have even been green-lit.
In Beauty and the Beast,
after the beast releases Belle from the dungeon tower, he leads her up to her
new room and says that she can go anywhere, except the forbidden west wing. Later
Belle is curious about the west wing and enters it, discovering the enchanted
rose and the portrait of the beast when he was a person. The beast catches her
and forces her out.
At the end, when the beast transforms back into a human,
Belle recognizes him from the painting. Then they live happily ever after.
If Belle had listened to the beast, or the beast had not
prohibited her from going to the west wing, then the ending might’ve resulted
in the prince re-explaining how he’d become a beast. Or—he might not have
changed into a better character. Therefore, Belle wouldn’t loved him, and he
would’ve failed to break the spell he and the servants had gone under.
So there you have it. Notice the pattern in both examples? Let
that help you.
Why is it so hard? Because it needs to be relevant to the
storyline, not offensive, and sound natural to the person speaking it, taking
their age, time, where they live, and other demographics in mind. You need to listen
to how people speak.
Yet, many people, especially those the ages of middle grade
characters, have said little to nothing in my presence. Yup—people watching is
tougher than you think, excluding the risk of those folks thinking that you’re
stalking them. You could watch movies too, but that doesn’t really help,
either. Another option is to read books and see how other authors write their
But the hardest challenge with dialogue, overall, is having
characters react believably to extreme situations, especially in fantasy. I
write fantasy and I cannot stress enough how difficult it is to make characters
react naturally to high levels of danger. No matter how hard I try, readers have
said that the characters’ reactions were muted, unnatural, and too accepting. It’s
However, I found a solution, besides receiving help from
editors. I print out the story and read the dialogue out loud. I was surprised
to discover how unnatural some lines were—just by reading them out loud. So I
changed the words.
Observing others is fine up to a certain extent. Also, a lot
of people are quiet in public. Many even put on faces in public and might behave
differently in their homes. Reading other books could work, as well. But I find
reading the dialogue out loud helps the most.
This process has been SUPER difficult for me. I meant that. For
two years, I couldn’t finish a single darn draft. Then, last year, I discovered
that I needed to start shorter and sloppier. I realized that my progress
differed from other writers. I needed to simplify things drastically. While
others write 100,000 words and have to cut, I will have to write 10,000 words and
then expand. But that’s another post.
Anyway, the first installment “The Frights of Fiji” is available on Amazon here. The second installment, “The Uncontrollable Curse” can be pre-ordered right here. The third novel is currently titled “Enchanted for Eternity” (which might change) and still has a ways to go. I am writing a synopsis for the current draft. I’m hoping that plot can work for the final draft. Really—I just want this project to be done. About 3.25 years of this WIP have passed and I cannot tell you how many times I wanted to quit.
Yeah—finding an exciting plot was sooo hard. Even recently, long after I completed a full first draft
from January to February last year (2018), I have gotten bored with some of my
plots. However, the one I’m working on actually sounds pretty exciting, even
though I’m not done with the synopsis.
But the idea has stayed the same. My main character, Alyssa,
is cursed with magic that she needs to learn to control and keep permanently. I’ll
release more information once the story’s pretty much done and nearing
publication, which might be early fall, as of now.
I’m an author and authors constantly write. However, I am
weak at multi-tasking, even with writing. For years, I could only work on one novel at a time. But that meant only
one publication every few years. And that is not very fair to fans or readers.
I’ve been doing research on writing more than one story at a
time. Many writers can do it. Some do it because they have too many ideas
floating in their heads. Others do it because they want to meet deadlines
sooner, especially if they have agents.
I’ve tried many times but have failed… until now. I am
working on two works at this time. Well, technically three as I am having one project
edited. But this is a huge milestone for me. It’s not easy. I am glad that I
started with a small step of only adding one extra project. There is a
technique I read about somewhere called drafting. That is when you work on one
story draft at a time with different projects. For example, you write a draft of
story a. After you finish that draft, you do a draft for story b. Basically,
you work on one story at a time, but go to another one after finishing a
certain draft rather than spending a long time on just one story.
I am not really doing that, though. I have been working on
my third novel for over three years, although the first two years were spent
trying to figure out the story. I am now working on the third book and the
first draft of my fourth book at the same time. Sometimes I am designating certain
days for one story. Other times I am working on whichever I feel like.
If you want to work on more than one story at a time, I
would definitely recommend you go for it. In fact, many big authors work on
more than one book at a time. If you’re serious about publishing, then I would
emphasize on this even more. If it’s traditional publishing, depending on the contract
you have with an agent or publisher, it may work. However, traditional
publishing takes longer, and you have no control over the process or time. If
you’re self-publishing, you have total control over your projects, when you
publish them, and the time it takes to publish. If you do Amazon KDP, you can
choose a release date up to three months (I think) ahead if you choose the
The reason I want to work on more than one novel at a time
and write faster is because I don’t want to keep people waiting. Plus, I don’t
want my final installment to be ready when I’m, like, 40. Not that I have
anything against publishing at that age (many authors are, at least, that age).
Plus, my writing will likely be more mature by then. I just don’t know where I
will be in life then. I’m only 25 after all.
My goal is to have my entire series published by my 30th
birthday. No, I am not looking to become the youngest author with a full
series. I just want to keep readers up to date more often. Plus, I have a
better idea of where I’ll be in five years versus fifteen. I know I can make this
Characters come in all shapes, sizes, personalities, and
much more. So do the ways they are developed.
Many writers base their characters of real people they know.
They also develop them like the folks they know.
Want to know how I develop my characters? Yes? All right.
Here I go. I often develop them as I develop my storylines. I get to know them as
I draft. I unconsciously develop them through other story elements too, like
dialogue and actions.
Now these are not the only ways I develop my characters. Sometimes
I plan their personalities, even if the characters don’t make it to the final
drafts. I also might base them off other fictional characters from other franchises,
sometimes myths and legends. For example, in one of my works, there’s a
character inspired by the Grim Reaper.
Unlike many authors, I never really base characters off
people I know. However, I do often develop
them like those in my lives. This was especially common in my earlier works,
when I was still learning how to develop my characters. I developed a couple
like my cousins at that time and one like my brother back then.
Remember, there is no one-size-fits-all way to developing
characters. It is, however, important to make your characters believable, round
rather than flat, crucial to your story, imperfect (they should have at least
some flaws), and change at the end of your tale. This is especially essential
for you main or major characters.
This technique also takes a while to learn. It took me,
like, seven years to discover my writing voice. A similar amount of time might happen
for you if you’re new to creative writing.
If you search for me on Amazon, you’ll see that I have published
five books, but only one is for sale. That is because the others weren’t
exactly the strongest. Except for one, I did pretest the others to make sure
they were good enough to please strangers. They were. But I felt the novels
could’ve been better.
So hang tight as you learn to develop your characters. If you
need assistance, there are character development worksheets you can find online
and use to answer questions about your characters. Sometimes I’ve interviewed
my characters, answered questionaires about them, or even wrote short stories
from their points-of-view. This might help you. Something will.
I’ve been studying the writing craft for years. It was seven and a half years ago when I learned the right rules of creative writing. It took about that long to hone my skills and mature my creative writing abilities to what they are now.
However, before I studied the craft, I wrote a bad novel
that I was dying to publish and convinced my parents to let me do so. When it
was published, there was no positive feedback. However, I do realize now that I
still included the classic plot structure, which I wasn’t aware at during that
time. I continued to use that structure in later novels where I studied the
What is the structure, you may ask? It starts of with the
inciting incident, where something greatly changes your main character’s
situation and sets him or her up on a rough road to achieve his or her goal. Then
there is a call to action, and the main character often refuses it at first. Then
he or she will accept it.
Next comes the first plot pinch, which sets your main character up for failure. Then there is the midpoint, which can be a major defeat or loss. That will push the protagonist’s struggle to achieve his or her goal even further. There will be complications and higher stakes, which will lead to an all-is-lost moment, where the antagonist wins at that time.
Then comes the climax, where something prepares the protagonist for the final battle (not always literally, though). There may be a ticking clock too, where the protagonist’s time starts running out. Finally, there is the resolution of denouement, where the main character has come somewhere satisfying. He or she may achieve his or her goal. If not, he or she may realize that the goal was not something he or she had wanted all along or something not right for him or her.
And no matter what story I write, usually novels, this plot
structures comes out into my writing unintentionally. I don’t know why, though.
It’s like my brain has somehow inserted the plot structure into its
subconscious or something. But that’s probably a good thing.
No matter where you are in the writing process, whether you are new or experienced, it’s important to know the plot structure. Any successful work, written or visual, needs to follow this structure.