Don't go in the Cellar...and other Foolish Risks Characters Take in Mystery and Suspense Novels

 We’ve all read the passage--the heroine is home alone when she hears a strange noise coming from the depths of the house.  What could it be?  The reader holds a breath silently praying, don’t go down there.  So what does our heroine do?  Call 911?  No.  Get help? No.  She heads right for the cellar stairs and goes down, often calling out in a loud and frightened voice, “Is anyone there?”

Does the heroine expect a serial killer/burglar/monster to reply “Just me?”  What would she do if there was an answer from below?

Here are examples of some hare-brained decisions that characters often make in books and movies:

***Go down the cellar steps, or into the basement or out into an empty yard after hearing an ominous noise.

***Walking in the direction from which they just heard a suspicious gunshot.

***Keep on walking after hearing footsteps behind them, dogging their path, when they could easily get to safety.

***Take a bath after receiving a threatening phone call. 

***Find an opportunity to make love while on the run with vampires/ the police/a serial killer in close proximity.

***Keep searching for a serial killer after discovering a fresh corpse or a suspicious-looking bag of bones in a house, park, or other secluded place.

***Enter a cave or other dark place unarmed and alone when there are rumors a killer, monster or vampire is present.

In certain genres, such as suspense, gothic romance, and horror, a little foolish risk-taking is expected.  In my above example, how else is the author going to get the heroine in jeopardy? If she doesn’t go down into the cellar, if she calls the police instead, the story is dead in the water.

When faced with this dilemma, authors should try to make the protagonist’s decision as rational as possible so that a potentially dangerous situation doesn’t leave the reader in stitches.

If the writer can make the reader understand the whys of it, they will be more likely to forgive a character for making an impulsive decision. How can a writer accomplish this?  Maybe the protagonist doesn’t trust the police, maybe their fearlessness is a character flaw that often gets them into trouble. While protagonists must often venture into dark and dangerous places, their actions should be justifiable and make as much sense to the reader as possible.  

How Soon Should a Murder Occur in a Mystery Novel?

How soon a murder should take place in a mystery novel depends on the type of novel being written.  In some mysteries, the murder occurs on the very first page or chapter, in others not until chapter six, and in still others…not at all.

The Traditional Mystery

In a traditional or Agatha Christie type novel, the murder usually occurs very early. Sometimes the book opens with a murder on the first page.  Traditionally the murder should take place in the first chapter unless there is some strong reason why it must be delayed.   If there is going to be a murder in the book, as a rule of thumb, it should at least happen before chapter six.  This is because the crime must be introduced early enough to center the book around it.

 It is important that the murder occur early in this type of book, for this kind of novel centers around “whodunit”.  The victim is already dead and the detective must sort through suspects and clues to find out who killed the victim. 

The Suspense or Thriller

A suspense or thriller may start with a threat rather than a murder.  This may be a missing person, a kidnapping, or other threat of some kind.  The murder may occur much later in the book.

 In this type of book, the intended victim may not be the person who winds up getting killed.  Or in some instances the villain is thwarted before anyone gets killed.  But quite a bit of excitement is generated through chases and narrow misses.

The No-Murder Mystery

Some mysteries center around a crime other than murder.  These books may involve a theft instead, such as the stealing of a bag of diamonds or some other treasure.  The mystery revolves around who took the valuables, and not who committed murder.

Another instance of a mystery where no actual murder may occur is in the case of a kidnapped pet or some such crime that doesn’t involve a human victim.  The pet is usually returned safely, and the mystery is solved without undue violence.

There is no set answer as to when a murder should take place in a mystery.  The genres have blended so that a murder in the first chapter is not always the norm.  No matter what the sub-genre, a mystery must start with some kind of action to draw the reader in.  If not a murder, it is essential that an event such as a theft, missing person, or other exciting event must be introduced in the first chapter. 

For more writing tips, check out our nonfiction books on writing and writing mysteries.

Fiction: From Writing to Publication

Writing and Selling a Mystery Novel: A Simple Plan

Tips For Writing the Perfect Ending

 Every story deserves a good, satisfying ending.  But what elements make up a memorable ending?

 

The Hero should Solve his Own Problem

The resolution of the novel should logical and should, at least in part, be brought about by the hero (or heroine's) quick wit, thinking or reaction.  It is unfair to the reader to have the problem solved too easily, or by chance or circumstance.  For example, if the hero is in a shootout with the bad guy, it would be disappointing if a brick suddenly fell from an overhead building and instantly killed the bad guy for him.  This would certainly make the hero’s day and solve his problem, but it is unsatisfying because the hero has done nothing toward saving his own life. It would be much better if the hero had made a plan in advance, perhaps rigged the brick so that it would fall, then lured the bad guy over to the spot where it will land. In any event, the hero should use his wits in some way to save his own life.  His actions should make sense and be products of his own logic, not fate.

Resolve any Subplot

By the end of the book, any subplots, such as romantic subplots, should be resolved.  If the hero has a fight with his girlfriend, do they reconcile or are they forever estranged?  Other subplots that should be resolved by the end of the book are conflicts with family members or major life decisions.  Readers are interested in even small details about the hero or heroine.  For example, in your novel the heroine might be looking for a new house to buy.  This may be only a minor aside, yet the reader wants to know and will be disappointed if the heroine has not found and purchased her little cottage by the sea by the end of the book.  Keep the subplots hanging until the end of the book, but not indefinitely.

Tie up all Loose Ends

“And they lived happily ever after.”  It is customary for a novel, especially a genre novel, to have a happy ending, or end on a positive note.  The ending is usually a time to assure the reader that all the wrongs have been righted.

However, a book does not absolutely have to have a happy ending. In fact, some of the greatest novels of literature end on an unhappy note.  If your book does not have a happy conclusion, then it must be in some way satisfying.  The hero must have grown or learned some valuable truth about himself.  By the end of the book, the problem that plagued the hero should be resolved, one way or another.  The hero should either be on his way to a happier life or have in some way come to terms with, and be at peace with, the decisions he has made. 

End with a Strong Sentence

The ending is a good place to provide a kind of closure.  What has the hero learned (or not learned) about himself?  Has this experience made the hero a better person in some way? If possible, end with a deep thought or emotion

In A Tale of Two Cities, when Sydney Carton commits the noble act of dying in another man’s place, the words "it is a far, far better thing I do than I have ever done, it is a far, far better rest I go to than I have ever known,” will stay with the reader long after the pages have closed.  And who can forget the ending line of Gone with the Wind, when Scarlett O’Hara pronounces, “After all, tomorrow is another day!”

Tips for making a good ending:

*make sure the ending is logical

*the hero should solve his own problem

*resolve any subplot

*tie up all loose ends

*leave the reader with a strong sentence, thought or emotion

For more writing tips click: 

FICTION: FROM WRITING TO PUBLICATION

Curing Writer's Block: Unsagging the Middle of the Novel

Have you ever put a book down in the middle and never picked it up again?  Books are often begun with a burst of great enthusiasm, but by the time the middle is reached, the excitement may have worn thin for both writer and reader. 

The middle of the book is the longest section and often the most challenging part of a novel to write.  What was once new and exciting runs the risk of becoming redundant and ho-hum boring.  The writer must think of ways to keep the book entertaining to hold the reader’s interest to the end.
  
Below are some tips for keeping the middle from sagging. 

    

 Keep it Exciting by Upping the Ante

The middle is the place to up the ante.  If the protagonist is at risk, make him more so.   If he or she is in danger, make the main character sweat even more.  For example, if your hero is a professional gambler and has risked his own money in the first chapter, in the middle get him into even more hot water by risking money from the boss’s safe or his wife’s private account.  Now, if he loses again, he’s really got a problem. 

Add a Totally New Event

Spice the middle up with an entirely new event.  If you are writing a mystery, add a new murder. If another murder does not fit the storyline, then add a threat or warning.  A sinister phone call, a death note, or the taking of a hostage can heighten the suspense and keep the reader interested.

Add an Unexpected Twist

A twist or surprise in the middle can also be a pleasant diversion.  Perhaps the hero has figured out that the source of all of his problems is the next-door neighbor.  He goes to confront him, only to find the neighbor lying in a pool of blood.  Everything he has thought up to now has been wrong.  The hero must now re-think his angle and start from square one.  (plus, he must also now find out who murdered the neighbor.)    

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Further the Subplot

The middle is also the place to develop and deepen the subplot.  Create interest in the romantic subplot by making the hero and heroine temporarily separated for some reason.  Maybe the hero gets into an argument with his girlfriend or has a misunderstanding that is difficult to clear up.  Keeping them estranged for a few chapters can liven up the middle of the book and generate reader interest.

Writing the middle can be a challenge.  But don't give up now! Creating new problems and events for the protagonist to face and overcome can help make the middle as entertaining as the rest of the book.

Quick Tips to Unsag the Middle

*up the ante

*add a totally new event

*add an uexpected twist

*further the subplot

For more writing tips click: 

Fiction: From Writing to Publication

Check back for more tips on writing the ending!

Writing the First Chapter: How to Plan a Strong First Chapter

Developing a strong first chapter is often a matter of trial and error.  The first chapter is usually the one that is rewritten the most.  Here are some tips to help you get it right the first time

The first chapter is the most important chapter in the book because it is the first example of your writing the readers will see. It must have the power to draw them in and interest them in the rest of the book. The first chapter also determines the voice, tone, and atmosphere of the story.

Start with Conflict or a Point of Interest

While the first chapter doesn’t have to start with soap-opera drama, it must have enough action to interest the reader.  Many writers choose to begin their story at a point of conflict such as at a place where the hero is in immediate danger.  For example, the logical place to begin a mystery would be with the discovery of the body, not the detective commuting to work or reading the morning newspaper.

Providing Background Information

Many instructors habitually advise their students to throw away the first chapter.  Should you?  That depends.  Many writers make the mistake of including far too much background information in the first chapter.  This is because they are anxious to set the groundwork for the rest of novel. They want readers to know everything about their character from the start.

The first chapter should start where the action begins.  This action can be either physical, such as a fight or a boating accident--or emotional such as losing a love one or other trauma that might cause strong feelings. 

The first chapter should not start with a lot of who, what and where explanation about your character and how he got into this mess. The first chapter should provide only the bare essentials in background information.  For example, it might be necessary for the reader to know where your hero lives, but not, at this point, where he went to school, how many kids he has, whether or not he gets along with his mother.  These points can be introduced if and when they become pertinent to the story. Though additional information is necessary, it does not all have to be crowded into the first chapter.  If there is too much explanation, most of it can be discarded, and what is essential should be threaded into to a later part of the book.

What goes in the Middle of the First Chapter

Now that you have gotten their interest, you must develop the chapter by deepening the conflict.  If you have started with a point of action, now is the time to bring into focus the details of the event, and the character’s reactions to the event.    

If the chapter begins with a car accident, now the protagonist can react to the situation and a bit can be told about his or her reaction the the situation.

End with a Question or Cliffhanger

Just as the first chapter begins with a bang, it should not end with a whimper.  The final lines should pose a question that draws readers into the next chapter.

If your book is a mystery, have the detective discover an unusual lead or clue he plans to follow up on.  If your story is a romance, cut the first chapter off at the point where the boy asks the girl for a date, not after the reader already knows her answer.  If you are writing a thriller, stop the first chapter with the hero hanging onto the ledge of the building, not after he has jumped to safety.

By the end of the first chapter the reader should

*be introduced to the main characters

*know where the story takes place

*Have a feeling for the atmosphere of the book

*be introduced to the main problem or conflict and some kind of mental or physical excitement

  More Writing Tips:  Fiction: From Writing to Publication

Check back for more tips on writing the middle part of the novel and the ending!

The Prologue and the Epilogue in Fiction

 Both the prologue and epilogue are devices that help explain a complicated story.

A prologue appears at the beginning of a novel, and serves as an introduction to tell what has gone on before.  An epilogue appears at the end of the novel and tells what happened years after the story has ended.

It is not necessary to have both a prologue and an epilogue.  Many books have a prologue with no epilogue.  Others have both.  However, an epilogue is seldom used without a prologue.

The Prologue

A prologue is an introduction that is not quite a chapter. It is set apart from the rest of the book either in time or in viewpoint.  Its purpose is to provide necessary backstory for the novel which cannot be told in any other way.

A prologue may be used for dramatic effect.  A common use of the prologue in a thriller is to have the prologue either be in the villain’s viewpoint, or to start the story with a murder scene or crime in progress, an evil face peering into a window, or someone hearing the footsteps of a stalker. Then the novel begins with the detective or main character’s viewpoint.

The Epilogue-“And they Lived Happily Ever After…

An epilogue is a short piece tagged on to the ending that is usually not quite as long as a chapter.  Its purpose is to tell what happened long after the story has ended.  Often, it will tell whether the main characters married, had children, moved to a farm in the country. 

An epilogue is not necessary unless you have a novel that spans a long period of time or have an event such as a birth or a wedding that is not covered by the ending.  Often, in a historical romance, the book will end with a kiss, and the epilogue might start seven year after and tell that the couple married and had three or four children and lived to ripe old ages.  Facts the reader might want to know, but that take place far after the ending of the story.

 Use of a Prologue and Epilogue to Indicate a Span of Time not Covered in the Novel

In Mary Higgins Clark’s I Heard that Song Before, the prologue introduces the main character as a little girl who overhears a cryptic conversation in a hidden chapel on the Carrington Estates, of which her father is landscaper.  The first chapter begins with the same character as a grown woman.  She returns and falls in love with Peter Carrington, but what she overheard that night might be a clue to the murders her new husband has been accused of.  An epilogue tells the state of affairs a year later.   

Use of a Prologue and Epilogue to Span Years of History

In a novel that spans years or decades, a prologue might serve the purpose of  explaining  events pertinent to the plot that went on before the novel begins. For example, Robert Goddard’s historical suspense novel Name to a Face has both a prologue and an epilogue.  The prologue begin at an earlier time than the story takes place  Godfrey Schillingstone has discovered a mysterious secret he is about to reveal to the world, one that will bring him great academic fame.  But before he can show what his discovery, he is murdered.

The actual first chapter begins with another character, Tim Harding, who in modern times finds Schillingstone’s discovery has some bearing on a mysery in the present.

Here is a sampling of books with prologues and epilogues.

 

Dead Souls  Ian Rankin  (prologue)

The Associate Philip Margolin (prologue)

I Heard that Song Before Mary Higgins Clark  (prologue and epilogue)

Name to a Face Robert Goddard  (prologue and epilogue)

Cruel and Unusual  Patricia Cornwell (prologue and epilogue)

Planning a First Novel: Five Steps to Complete Before Writing a Fiction Book

Before starting a novel, it makes sense to make a few plans before beginning. A little pre-planning will give a new writer confidence and make the first draft go more smoothly. If a few items are decided upon and gathered beforehand, the writer will have necessary details and information at their fingertips.

1. Get Organized

Before starting a new project, get organized by preparing the computer and paper files. You will need to to name computer files for a first draft that can be saved and kept separate from a second or any following drafts. It helps to keep the latest draft of the novel in progress carefully marked and separate from the working drafts. Also, find some way to copy the final draft to a flash drive or to a file-hosting service such as Dropbox, so there is more than one copy in case of a computer crash.

You will also need paper files for notes and research. Always keep your research in a separate file from the book notes so you won’t have to shuffle through tons of research to find notes related to the actual writing.

2. Make a Character Bio for Each Character

Before starting a novel, make a character biography for each main character. This handy reference sheet will provide a description and background information for each character. This detailed character information will become invaluable later on. It also serves as a quick, handy reference as to a character's eye and hair color when writing about a character.

3. Create a General Plot Outline

Make a general plan of events. A plot outline is usually broken down into chapters. Key events are planned that will happen in the first part of the book, the middle section, and the ending. Though it is not necessary to work out every single detail of the book before writing it, the more that is planned or plotted ahead of time, the more smoothly the actual writing will go. Plotting the book ahead of time also saves revision.

4. Describe the Setting

Having a ready-made description of the setting keeps the writer from having to stop working on the story to create a background. The writer should know beforehand the general area in which the story will take place. Writing down a description of a town, the landscape, and other important settings within the story will allow the writer to focus upon the characters and action of the book.

5. Gather Necessary Research

If research is needed for the plot, gather and organize it ahead of time. If the novel is set back in time, then a general knowledge of the time era is necessary so the writer won't have to stop in the middle of a scene to see how people talked or dressed. If a novel is a police procedural set in Los Angeles, then knowing a little about how the police department is set up, and having a good idea of what the area looks like is helpful for giving the book a sense of reality.

While the actual writing of the novel does not need to be delayed until all of these steps are completed, the more knowledge the writer has about plot, character and setting beforehand, the easier writing the first draft will be.

20 New Year's Resolutions for New and Published Authors

The New Year is the perfect time to set writing goals and make plans for the next year. The resolutions a writer makes depend upon individual aspirations. A goal should be realistic enough to be attainable yet large enough to take a writer to the next level.

Ten New Year’s Resolutions for Aspiring and Beginning Writers

It is important for a new or aspiring writer to set a goal of writing every day. Commit to write something every single day, whether it be a journal entry, a sketch or observation, or a contribution to a future novel or short story.

The path to getting published is to write and not get discouraged. Seek help in the form of joining a local or online critique group or discussion group for writers. Read books on the craft of writing and experiment with different styles and points of view. Study the different ways of publishing and research markets for manuscripts. All of these steps pave the way to future publication. Below are some steps new writers can take toward being published in the New Year:

• Write every day
• Keep a daily journal
• Start a short story
• Start plotting a novel
• Finish a short story
• Send out a finished story
• Read a book on the craft of writing
• Join a critique group
• Experiment with different genres and styles
• Start a file of plot ideas

Ten New Year’s Resolutions for Published Authors

The work doesn’t stop once an author gets published. Published writers need to do double duty by concentrating on marketing as well as honing their craft.

A good resolution for a published author is to do more marketing online by creating or updating a web page or starting a blog. Networking is also a valuable tool for getting the name out.

Published authors also need to continue growing and learning until they reach that next level. Getting out of the comfort zone and trying something new may be a good new year’s goal. Here are ten suggestions for goals for published writers:

• Spend more time marketing
• Join a social network
• Go to a writer’s conference and network
• Schedule book signings
• Get a better contract
• Find a better-paying publisher
• Improve skills by reading advanced book on writing and plotting
• Try writing a screenplay
• Experiment with a new genre
• Ask for a bigger advance

There are many resolutions a writer can make that will ensure the new year gets off to a good start.

Generating Suspense in a Mystery

A few unexpected twists or surprises can make a story come alive. A few novels begin with an unusual twist. Many good novels end that way.
The elements of Question, Sitation and Irony can make a story more exciting and add a twist to any tale. Examples from three masters of "the twist in the tale" follow.

Intriguing Questions

Robert Goddard is often called the "master of the tale with a twist". His novel Caught in the Light begins with an enigma. Ian Jarrett, a photographer, encounters and falls in love with Marian Esguard, a woman he met on a chance encounter in Vienna. After a brief affair, he leaves his wife and daughter for this new lover, but she does not show up at their designated meeting place. He goes in search of her, only to find she might either be the ghost of a woman who died long ago, or a troubled psychiatric patient. From the first page the reader is filled with questions. Who is this mysterious woman? A ghost or an impostor? And what impact finding her will have on Jarrett’s life?

Unusual Situations

In Patricia Highsmith’s Strangers on a Train, two total strangers meet, share idle and drunken conversation, and agree to “exchange murders.” Since they do not know each other, neither one will be suspected of the murder they commit. One of the parties in this insane agreement is joking; the other deadly serious. When Guy Haine’s wife is murdered, he seems the most likely suspect. And then when Bruno comes to exact payment—by having him commit murder for him—he is in a double bind. Not only is he a suspect in his wife’s murder, now a complete stranger wants him to commit another. So how’s he going to get out of that one? The reader has to continue to find out.

Use of Irony

The use of irony is perhaps the most effective kind of twist. Irony happens when things appear one way but because of a flaw in the viewer’s perception are really much different. For example, in The Open Window by Saki, a visitor is told stories by a teenaged girl that changes his perception about the purpose of an open window. An innocent object now fills him with apprehension and terror.

Another excellent example of irony is the short story The Gift of the Magi by O. Henry. Because of acts of unselfishness, gifts intended to please are rendered useless, yet the gifts become even more important because they symbolize the love and generosity of the givers.

Adding intriguing questions, creating unusual situations, and including a touch of irony are all ways to put a new slant on an old story.

How to Find Ideas for Fiction: Short Stories or Novels

Ideas for novels and short stories are everywhere. The secret is to organize your ideas and find the perfect one to fit the story you want to tell.

Where do Ideas Come From?

Here are some places to look for ideas:

True Crime and Murder Cases in The Papers or on Television
Actors and actresses, politicians and other high profile people are always making the news. The newspaper and television are both good places to find mystery plots or those involving intrigue and scandal. If you get ideas from a news source, it is best not to use real names and to slightly change the events and the settings.

History, Travel, and Nonfiction Books

History repeats itself. History books are always a good source for ideas, especially obscure books that few people have read. Personal accounts and journals will give you a better perspective for writing fiction than books filled with dry facts. For example, if you want to set a story in the civil war era, with a female heroine, a book with a title like “One Woman’s Account of the Civil War” will provide more human detail than “General Lee’s Campaign Strategies.” Books about local legends and ghost stories can also generate ideas for fiction. Accounts of travel are also interesting places to search for ideas.

Find Ideas by Eavesdropping

While riding a bus late at night, I heard one drunk say sadly to another, “You know, you never forget your first love.” He was obviously thinking back to a happier time, a broken romance, filled with the bittersweet regret of losing someone through time or circumstance. What a start for a novel or short story!
Once, I overheard someone boast, “Everyone knows all the good deals are made in bars.” I didn’t make a story out of it, but I gave my crook that line in a current novel.

Draw from Your Own Past

A quote from FlanneryO’Connor goes, “Anybody who has survived his childhood has enough information about life to last him the rest of his days.” In the words of Frank McCourt, “When I look back on my childhood I wonder how I managed to survive at all. It was, of course, a miserable childhood; the happy childhood is hardly worth your while…” Both authors make the same point—if you get through childhood you have enough material to write about for the rest of your life. The authors of books such as Angela's Ashes and Running with Scissors are examples of writers who took lemons and made lemonade,so to speak.

Start your own X-Files

The best way to collect ideas is to record them. That is why authors always run around with little notebooks. Get in the habit of collecting notes and then putting them in a computer file. (There are a lot of interesting things in “Vickie’s X-Files”, some which will be made into novels and short stories, others that probably never will.) Create sort of a running journal filled with interesting stories you’ve thought of or heard that might make a good plot twist or idea. Don’t hold back, write anything down that seems worthwhile. This is the place where incomplete stories go. Thoughts incubate. Sometimes, years later, you may find the perfect ending to a story idea you had started years ago. When you feel depleted, you will always have a backlog of random thoughts, character sketches, and plot ideas for inspiration.

Check back next month to learn about turning ideas into stories.

Does Your Novel Need a Facelift?

Wouldn't it be great if manuscripts sold the minute they were printed out and sent off to a publisher? More often than not, publishing is a long process.

There can be a delay, sometimes a big delay, between the completion of the story and the actual sale of a novel. If a manuscript doesn't sell right away, you might have become discouraged. At that point, it may have ended up in the bottom of your desk drawer.

Then one day, you discover the manuscript, dust it off and re-read the entire thing. It doesn’t sound half bad. You decide to send it off again. But before you try round two, make sure your book doesn’t sound dated. You don’t want publishers to suspect they have a vintage book on hand, one that you’ve been sending out and haven’t sold since Elvis was king.

If it has been more than a year since you sent off your novel, it might pay to run a checklist and make necessary changes. If it has been more than five years (and yes, it’s more common than you think) it is essential. To update an older manuscript, make a thorough search for these points and use find and replace to make necessary changes.

Content Cheklist

Slang and Language:

Slang:Nothing dates a book more than old slang. “Gag me with a spoon?” Only if your book is set in the 1980s. Phrases like bling-bling and “think outside the box” will date your novel at 2007. But by the end of 2008 they will be history. If it is important to your book to use slang to “add color” be sure to keep it current.

Launguage Use: Language usage may also change as new words are added to the general vocabulary and old words decline in popularity. Some words, too, over the years change in meaning. For example, the word “gay” has an entirely different meaning than it did in the 1950s.

Money:Money values are always changing. For this reason it is important to go over your book and check places where money transactions, especially important ones, have taken place.

Ransom: Bring 20,000 in unmarked bills to the park if you ever want to see little Debbie alive again.” Well, that used to be a lot of money, but these days it’s hardly a dent in the old Mastercharge. Though a million dollars isn’t the high stakes deal it used to be, it is still a fair ransom amount. Anything under that is an insult.

Home Prices: Home prices fluctuate so much it’s better not to even mention them in your book unless it is an important plot point. A book from the late 1960s tells how a woman purchased a nice home in a good neighborhood for $25,000 dollars. In the 1990s you could still purchase a house for $50,000. Today, most homes sell for over $100,000.

Food and Lodging:Check any part of your novel where transactions of this kind take place. Just a few years ago you could get a room at a hotel for around thirty dollars. Those days are gone. A ten dollar meal might have been a luxury at one time, now it is a cheap date.

Clothing and Social Habits:Clothing styles are constantly changing. Red lipstick, stockings, and mirrored compact are all reminiscent of a bygone era. Let’s hope your book doesn’t date back that far, but even a few years can bring about a change in wardrobe and social habits. Smoking, for example, only a few years ago was socially acceptable. Now, only the villains dare to light up a cigarette in public.

Car Models:Vehicles are another item that are susceptible to change. It is much better to mention a general brand name rather than a specific model of car unless that car is integral to the personality of the character or important to the plot. For example, if your manuscript contains a Ford Falcon, time for an update, while the more general term Ford should last for decades.

Technology:Ah,ever-changing technology. The past few decades have brought about a plethora of new gadgets—computers, cell phones, music CDs. These are constantly changing and since no one can foresee the future, if mentioned in your book, these items must be constantly updated. The bane of the mystery or spy thriller author: what is the hidden information concealed on these days—tape, disk, or cd?

Tips for Updating your Manuscript:

* Slang and Language Usage: Look for and avoid if possible “trendy” slang that won’t be here tomorrow. If using current “buzz words” is essential to the story, be sure to update your draft if the book does not sell within a year.

* Money values: Be general when mentioning money values that are not important to the plot. For example, there is no need to be specific about the dollar price of a meal or hotel if you describe it as being upscale.

*Clothing and social habits: Look for changes in styles and in social habit such as smoking that reflect current times and attitudes.

*Vehicles: Make sure your vehicles haven’t become vintage.

*Technology: Keep current with the latest changes in technology by checking your manuscript for outdated phones, computers and other electronic devices that change in short periods of time.

Must-Have Books about Writing

In order to be a good writer, certain elements of the craft of writing must be learned. Here is a list of helpful books for the prospective writer.
This selection of six excellent books for writers are especially helpful to have on hand for character development, plot structure, grammar, and all-around great writing.

1. The Writer's Journey: Mythic Structure for Writers by Christopher Vogler

This book is often recommended reading for storytelling and scriptwriting classes and is useful for plotting novels as well. Based on Joseph's Campbell's philosophy about the hero's mythic journey, and tailored specifically for writers, this book outlines the stages through which the hero must pass to obtain his goal. In most stories the hero makes an epic journey which includes passing through a series of tests and trials and experiencing a dark moment on her way to redemption or resolution. Using key elements of this theory can help bring a weak, unstructured plot up to par.

2. 20 Masterplots and How to Build Them by Ronald B. Tobias

This book helps generate plot ideas by detailing how to structure a plot around a particular theme or human emotion, such as revenge, escape, rescue, rivalry and many more. Thousands of plots can be created based on these twenty timeless themes.


3. The Complete Writer's Guide to Heroes and Heroines by Tami Cowden, Caro LaFever, and Sue Viders

This book adds a little psychology to character development by putting together sixteen master archetypes which detail personality traits common to heroes, heroines and many colorful side characters such as the Waif, the Bad Boy the Seductress, etc. By using the suggested archetypes as a guide, a writer can create and develop characters with believable motivations according to suggested personality traits as well as mixing and matching them to form conflict. (How does a Bad Boy react to a Waif)?

4. Writing the Breakout Novel by Donald Maass

If one had to choose just one how-to book, Maass' would be the one. Written by an top literary agent, it gives insight into what publishers and editors want. This book is especially helpful for the advanced writer who already knows the basics and wants to polish his skills.

At the same time, pick up a copy of the companion workbook, Writing the Breakout Novel Workbook which is even more helpful than the book. Chances are many writers won't be able to complete the 591 step checklist at the end, but don't worry. Even following a small portion of these recommendations, will guarantee a stronger, more marketable book.

5. The Romance Writer's Phrase Book by Jean Kent and Candace Shelton

Ever get stuck on a phrase? Ever have trouble describing a character's particular body movement or emotion? You don't have to be a romance writer to benefit from this compilation of 3,000 descriptive tags. Organized into categories including "Physical Characteristics, Body Movements, Facial Expressions, this handy reference can help a writer find just the right word or phrase to describe how a character is feeling or reacting. It is best to use this as a base to make up personal descriptive tags rather than using the ones listed, but the listed phrases will get the imagination going.

6. The Elements of Style, Fourth Editon by William Strunk Jr. and E.B. White

Every well-stocked writer's bookshelf should, of course, contain the usual references of dictionary, thesaurus and at least one book on the elements of style. The first edition of this book came out in 1957 and later editions have been published consistently since then. Recommended by Stephen King, this concise book is a helpful reference to have on hand to improve sentence structure or to refer to in case a question arises concerning the general rules of good grammar. A well-edited book with a minimum of grammatical and spelling errors will help encourage a publisher to take a manuscript seriously