Writing Imagery

Now-a-days, readers want excellent writing, but it needs to be straightforward. This makes it all the more important to place your metaphors and similes in appropriate places throughout your novel. If you have one metaphor after a simile after another metaphor...then you will slow down the reader and your story will sag with the weight of a word picture frenzy in the reader's overloaded mind.

Using well-placed metaphors and similes can 1) Anchor the reader to the setting and have them  connect to your character's situation, and 2) Emphasize high emotional intensity, as implied by James Scott Bell in his book, Revision & Self Editing.

Just as a poem begs to be memorized, a metaphor or simile create a memorable experience for the reader, and etches your story into their mind. I can think back on certain books and remember their well-placed metaphors and similes out of the entire 90,000 words. These tools grip a reader's thoughts and leave a “book”print in their mind long after the book is closed and put away.

Here are some examples from books that have printed on my mind:

Anchoring to the setting:

"If Broadway was Manhattan's artery, Five Points was its abscess: swollen with people, infected with pestilence, inflamed with vice and crime. Groggeries, brothels, and dance halls put private sin on public display. Although the neighborhood seemed fairly self-contained, more fortunate New Yorkers were terrified of Five Points erupting, spreading its contagion to the rest of them.” Wedded to War, Jocelyn Green.

Jocelyn uses the metaphor of the condition of the human body to not only emphasize the point of view of her heroine, an aspiring nurse, but she also gives such a vivid understanding of the setting that a reader could hardly dismiss this and move on without allowing the imagery to paint itself in their mind.

“Through the makeshift curtain that gave her some semblance of privacy, she could make out Captain Click's sturdy shadow like a locked gate barring harm's way.” Courting Morrow Little, Laura Frantz

This book is set in a time of unease and discord between the settlers and the Native Americans. This metaphor of Captain Click being a locked gate is appropriate to the point-of-view of the heroine who is a young woman traveling into hostile territory. This anchors the reader to the setting not only through the heroine's perspective, but gives the overall emotional climate of the setting—one of possible danger at every turn.

Emotional Intensity:

“The man who stared back was not a man he knew. The careful control bred into him since birth was gone. In its place he saw a fire-breathing dragon capable of murder.” The Duchess and The Dragon, Jamie Carie

The image of a fire-breathing dragon is placed at a time when the hero's emotions are high and his actions have culminated to a dreaded circumstance. Jamie Carie imbeds this metaphor in such a way that it maintains the momentum of the story but shows intensity of the hero's emotion.

“In the domestic cloud of dust and family, I too can forget the One who sees me, but in eucharisteo, I remember, I cup hands and all the world is water.

The well, it is still there.

There is always a well—All is well.

I choke out my son's name. His skin is transparent...glass. And he stares long, brims...quavers...falls. And I cradle him, the Boy-Man, flood over shoulders.” One Thousand Gifts, Ann Voskamp.

Ann's moment with her son is filled with word pictures that emphasize the build to an emotional outpour. This book takes the use of metaphor to such a deep level, my heart stirs at every turn of the page.

Metaphors and similes can also unveil a writer's voice. Ann Voskamp does this amazingly well, not only in the example above, but consistently throughout the book. Depending on a writer's voice, these descriptive tools can be well-placed mirrors to the under-lying tone of the story.

Do you have examples of well-placed metaphors and similes in some of your favorite books? How about in your own? Please share!


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Angie Dicken first began writing fiction as a creative outlet during the monotonous days of diapers and temper tantrums. She is passionate to impress God's love on women regardless of their background or belief. This desire serves as a catalyst for Angie's fiction, which weaves salvation and grace themes across cultures. She is an ACFW member and is represented by Tamela Hancock Murray of the Steve Laube Agency.

 

Showing C.A.R.E in the First Chapter

Last year I had the opportunity to participate in my first speaking engagement as a writer. I lecture often in my job as a university instructor, so speaking on Autism or Speech-Language Pathology to a group of people isn't such a big deal.

As I was preparing to chat with a writer's group about the importance of first chapters, I thought of a cute acronym to go along with my teaching. (because it helps with memory, right?)

So - what keeps the readers reading in your first chapter?

Showing C.A.R.E. as an author. That's what!

C - Character relate-ability - If readers don't care about our characters in one way or other, they are less likely to keep reading. This doesn't necessarily mean that our characters have to be noble and righteous. It means they have to be relatable. An 'aha' moment of "I know how that feels" or "I've felt that way before", or "I've been there or done that" before. Somehow we have to relate.

So, if we enter the world of Narnia with Peter, Susan, Edmund and Lucy, a reader might can't relate to the fears of WWII or stepping through a wardrobe into a magical world, but we can relate to being scared of something (like the children were of the bombs dropping in London) or of being in a new place (like in the Professors house), and we can remember 'dreaming' of imaginary places. It's wonderful.

A - Arrest the Readers Attention - Within the first page (preferably) an author must grab the reader's attention. Beginning your story in the beginning is not the best place, usually. Beginning the story IN MOTION is vital. Fairytales of years gone by which started with Once Upon a Time and then were followed with a five page narrative about the poor lost girl whose life was miserable, aren't hooking readers' attention or curiosity anymore.

Example: How do producers hook viewers for a 1-hour weekly series? The first five minutes (or less) of the show (before commercial break) begins with some arresting development. A body drops from a twelth story window onto the car of the hero/heroine; a recap of last weeks' ending reminds us that the heroine walked in on her boyfriend kissing another woman. Somethng happens to grab our attention and hold us through that commercial break.

The same is true for our writing.

R - Radiate a Sense of Place - Story Worlds are powerful places. From Middle Earth to Scarlet O'Hara's Deep South, to Dickens' London, or Brian Jacques' Redwall Abbey, place plays a big role in a reader's immersion into our stories. Downton Abbey is great for creating a sense of 'place' on the screen.

One of the BIGGEST reasons why fiction readers read is to escape their world or be entertained by someone else's story. Creating Story Worlds that do just that feeds the fiction reader's need, and makes them want to keep reading.

E - Emotions Draw Readers In - Relatability is one thing; An Emotional Connection is another. When the reader has an emotional response, he/she is usually hooked into reading more. If the response is caring, then great! If it's intrigue, good. If it is shock or fear (not my favorite ones, but some people like them), then they are more liekly to keep reading.

Jamie Carie begins her novel, Love's First Light, in the middle of the French Revolution with the hero's sister being executed. Emotional? Oh yeah! Mary Connealy usually begins her novels with the characters in peril. Emotional? You bet. Laura Frantz starts her novels off with historical beauty and depth of characters that create longing. Emotional? Definitely. And let's not forget humor! Like Janice Hanna Thompson or Deeanne Gist.

So, what do we need to do as writer?

Show our first chapters (and our entire books) a lot of C.A.R.E. and we'll really set the stage for a beautiful story.

Of the above 4 elements, which do you think is most important? Which one are you good at writing? Which one do you find most challenging?

Showing C.A.R.E. in Your First Chapter

Last year I had the opportunity to participate in my first speaking engagement as a writer. I lecture often in my job as a university instructor, so speaking on Autism or Speech-Language Pathology to a group of people isn't such a big deal.
But presenting about writing? Well, that was new. Fun, but new.

As I was preparing to chat with a writer's group about the importance of first chapters, I thought of a cute acronym to go along with my teaching.

So - what keeps the readers reading in your first chapter?

Showing C.A.R.E. as an author. That's what!

C - Character relate-ability - If readers don't care about our characters in one way or other, they are less likely to keep reading. This doesn't necessarily mean that our characters have to be noble and righteous. It means they have to be relatable. An 'aha' moment of "I know how that feels" or "I've felt that way before", or "I've been there or done that" before. Somehow we have to relate.

So, if we enter the world of Narnia with Peter, Susan, Edmund and Lucy, a reader might can't relate to the fears of WWII or stepping through a wardrobe into a magical world, but we can relate to being scared of something (like the children were of the bombs dropping in London) or of being in a new place (like in the Professors house), and we can remember 'dreaming' of imaginary places. It's wonderful.

A - Arrest the Readers Attention - Within the first page (preferably) an author must grab the reader's attention. Beginning your story in the beginning is not the best place, usually. Beginning the story IN MOTION is vital. Fairytales of years gone by which started with Once Upon a Time and then were followed with a five page narrative about the poor lost girl whose life was miserable, aren't hooking readers' attention or curiosity anymore.

Example: How do producers hook viewers for a 1-hour weekly series? The first five minutes (or less) of the show (before commercial break) begins with some arresting development. A body drops from a twelth story window onto the car of the hero/heroine; a recap of last weeks' ending reminds us that the heroine walked in on her boyfriend kissing another woman. Somethng happens to grab our attention and hold us through that commercial break.

The same is true for our writing.

R - Radiate a Sense of Place - Story Worlds are powerful places. From Middle Earth to Scarlet O'Hara's Deep South, to Dickens' London, or Brian Jacques' Redwall Abbey, place plays a big role in a reader's immersion into our stories.

One of the BIGGEST reasons why fiction readers read is to escape their world  or be entertained by someone else's story. Creating Story Worlds that do just that feeds the fiction reader's need, and makes them want to keep reading.

E - Emotions Draw Readers In - Relatability is one thing; An Emotional Connection is another. When the reader has an emotional response, he/she is usually hooked into reading more. If the response is caring, then great! If it's intrigue, good. If it is shock or fear (not my favorite ones, but some people like them), then they are more liekly to keep reading.

Jamie Carie begins her novel, Love's First Light, in the middle of the French Revolution with the hero's sister being executed. Emotional? Oh yeah! Mary Connealy usually begins her novels with the characters in peril. Emotional? You bet. Laura Frantz starts her novels off with historical beauty and depth of characters that create longing. Emotional? Definitely. And let's not forget humor! Like Janice Hanna Thompson or Deeanne Gist.

So, what do we need to do as writer?

Show our first chapters (and our entire books) a lot of C.A.R.E. and we'll really set the stage for a beautiful story.

Of the above 4 elements, which do you think is most important? Which one are you good at writing? Which one do you find most challenging?

Writing a Meet-Cute - hints from the best :-)

Happy New Year everyone.


It’s the time of new beginnings. New resolutions. Maybe some ‘firsts’ for you...or your writing ;-) That's why we're going to talk about 'first meetings' today.

One of the best moments in a novel or a movie is the first time a couple meets. In romance it’s called the ‘meet cute’. It’s a hallmark of romantic comedies and romance novels – so who better to teach us about it than the romance authors themselves?

Let’s get to it!

Jamie Carie is known for her fast-paced historical novels such as The Duchess and the Dragon or Pirate of My Heart. What does she say makes a great meet cute in novels?

For me, I love it when the hero and/or heroine is slammed with the impact of the other person. This could be an instant attraction or something deeper, like that feeling that they’ve just met their other half. In Love’s First Light, Christophé feels a mysterious, almost supernatural connection with Scarlett which leaves his already delicate emotional balance teetering on the edge of rational behavior ( i.e. he becomes somewhat of a bumbling, mad scientist in her presence). Here’s an excerpt of their first encounter.



He saw her and stopped. She was crouched low, her head down, her shoulders curled within her, stiff and unmoving. He couldn’t help but stare at her long, unbound hair. It was dark but alive with color, the pink glow of a morning’s glory reflecting in each strand.

Gold and amber and bronze and the color of glowing coals. Bright, white light. He saw the prism in his laboratory. Blinked and saw the split of white into the colors of the rainbow. Saw them reflected on his old castle’s walls. Brilliant but cold. So brilliant.

So cold.

He wanted to tell her of it. His chest heaved with the effort not to blurt it out.

She stood suddenly and whirled around—long, dark cape and glorious hair, flowers still clutched in her hand. Christophé’s gaze dropped from her frightened face to her rounded stomach and then the gravestone that glared chalk-white in the mist behind her.

“Color,” he thought as he stood transfixed. No, not a thought.

Heaven help him, he had said it aloud.

Mary Connealy is the queen of explosive first encounters. Let’s see what she says about them:

Pepper, What I like in a first meeting. One moment of attraction or connection or appreciation between them, even if it’s just a split second, then it alllllllllllll goes bad.


In this scene, thought I’ve sent it to you as the first meeting, they had one other ‘moment’ when Alex saved her life–but he did it to save his own life–or at least that’s the unflattering spin a very stressed out Beth puts on his help. He woke up, pulled a runaway stage to a stop when she didn’t have the strength to do it alone, then crawled off to be alone without saying a word.

Then she dived in to help the wounded.


She needs help. He’s not offering. That leads to this scene, their first real exchange.

 Doing her very best to set his skin on fire with her eyes, she leaned down, hoping to find a balance where she could rage at him without Mrs. Armitage hearing her. The poor woman had been through enough.

“You get up off the ground and help us, you worthless skunk.”

And wasn’t skunk just exactly the right word for the filthy pig?

“Get away from me.” The wormy, skunky pig’s eyes flashed like he had rabies.

Gritting her teeth so she could look fierce and still breathe through her mouth, she leaned closer. “You stand up right now.”

She hissed at him like a rattle snake, so she had a few animal attributes of her own. “I need help. I don’t care how hung over you are, how lazy you are or how stupid you are. Right now I need some muscle, and I know you’ve got it. Get on your feet and get over there and help us, or so help me I will rip your arm off and beat you to death with the bloody stump.”

The man’s eyes seemed to clear. Maybe she’d pierced the alcoholic fog. “I’m not drunk.”

Interesting that he hadn’t protested being called stupid or worthless or a skunk. . . what else had she called him? She’d lost track of her insults somewhere along the line.

“Oh, puh-leeze, you expect me to believe you’re this worthless without the help of whiskey?”

LOL. Oh my, I love Mary Connealy humor! And books! If you’ve never read one – GET THEE TO A BOOKSTORE NOW!!!

Speaking of great authors, Deeanne Gist has this to say about writing first encounters:

A slow, slow build. I want the reader to feel exactly what the heroine is feeling. That means I need to engage her emotions one baby-step at a time. If I do my job, then the tension building between the hero and heroine will ultimately extract a visceral response from my reader.

And the Maid to Match sample Dee provided??

“Mr. Sterling? Is everything—” A young maid stepped to the door. “Earl! What’s the matter with you?”


Black hair peeked out from beneath her small white cap. The eastern sun had reduced her pupils to dots, leaving eyes so blue they appeared almost lavender. Rushing out the door, she jumped between them, squaring off with Mack. “Stop it! Stop it right this minute.”


Releasing the man’s collar, Mack took a step back. Did she actually believe he was frightened of her? He felt a smile tug at his lips. “I’m not Earl, miss. I’m his brother, Mack.”


The disapproval she’d shown before was nothing compared to the horror that filled her eyes now. She pressed a hand against her stiffly starched apron. “Oh, no. You’re the brother?”


He nodded.


“And you came to the front door? What possessed you to come to the front door?”

“I was just looking.”


Rolling her eyes, she turned to the butler. “He’s a mountain man. He was engaged in fisticuffs when Mrs. Vanderbilt first saw him. I’ll take him round back myself and make sure he doesn’t get into any more trouble.”


Mack tucked his shirt into his trousers. “I can fight my own fights. You needn’t do it for me.”


She seared him with her gaze. “Do not say another word.”


He bristled and opened his mouth to argue.


She lifted her index finger. “Not. Another. Word.” With her finger still in the air, she turned back to the butler. “May I take him round back, sir?”


Tugging the hem of his jacket, Sterling tightened his lips. “Go ahead. I’ll talk with the housekeeper and tell you what we decide to do with him.”


Mack took a step forward.


The maid steepled one hand on his chest. With the other, she pointed toward the gate. “That way, Mr. Danver. The servants’ entrance is that way.”

YOUR TURN!
Care to share a meet cute from one of your novels? First encounters of the best kind?
Bring them on and let us see from your characters' eyes.
What do you like best about first encounters? Familiar friends or strangers, the meeting can be electrifying.
And remember - meet cutes do not always have to be 'cute'. Jane Eyre and Rochester? GREAT first encounter.
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Taking the story elements of her Blue Ridge Mountains’ heritage, Pepper  Basham writes a variety of fiction seasoned with grace and humor. From contemporary romance to fantasy or historical, Pepper likes to dip her creative interests in them all. She’s a pastor’s wife, mom of five, and university instructor. She can be found causing mischief at her group blog, The Writers Alley, or at www.pepperbasham.wordpress.com

The Case of the Perfect Literary Agent - Part 2

So lovely to join The Writers Alley again this week. And such fun to be had.

This is Rosemary S. Allspice reporting on Finding the Perfect Agent, part 2. To read part one, follow this link

I must say it’s been an exciting past two weeks, as I traveled about the United States in search of quality information regarding Literary Agents. You cannot imagine the gaiety involved.

I’ve brewed up another spot of tea, this time Irish blend, in celebration of author Jamie Carie’s work-in-progress. Here’s a hint: It’s about a Duke, and Irishwoman, and 1818.

Jamie was nice enough to allow me to stop in at her home in Indianapolis and winkle agent information out of her in between her Irish research. Here’s what she had to say:

“My experience was that I didn’t have any luck finding one until after I had a deal on the table. Then I queried several and, after emailing back and forth and getting to know each other, ended up with Wes Yoder of Ambassador Literary Agency. He’s been a great fit for me and that’s really the best advice I have. Find a good fit.”

Tis a recurring theme, don’t you think. “Find a good fit”. But, as my research has uncovered, a good fit may not happen the very first time around. Knowing what one wants and learning more about the particular agents in whom one is interested, is the first way to uncover a good fit.

Calm and kind Siri Mitchell took the time to answer my questions, even though she was celebrating the release of her newest novel, A Heart Most Worthy. Ever the lady, she offered me a spot of Salted Caramel Hot Chocolate, which I couldn’t deny. It was heavenly.

Here are her nuggets of wisdom about literary agents:

I feel like agenting is about building and maintaining relationships. Therefore, you need to sign with an agent who already sells to the house you want to work with. To do this, you really need to do your homework.

Look at an agent's client list to not only see if they have clients whose work is similar to yours but also to which houses they frequently sell. It pays to ask around about an agent's reputation (yes, even in the CBA!). I've asked my editors who they feel are good agents in terms of forwarding proposals that fit their interests and in advocating on their clients' behalf.

You should also find an agent who is willing to talk about and actively participate in career development. Don't waste those one-on-one conference appointments with agents and editors! Even if they're not interested in your manuscript, ask them who they consider to be the best agents in the business

Does anyone else catch the faintest hint of a theme in these comments? ‘relationships’ ‘conferences’, ‘fit’.

I traveled to Kansas to interview the delightful author, Deb Raney. With the warmth of a mum, she welcomed me into conversation and immediately put me at ease. Here is the cover for her June release, Forever After. Her advice continues with the same advice as before.

Her words of wisdom?

1. Keep in mind that a good agent for your best writer buddy may not be the best one for you. Personalities come into play, and different writers want different things from an agent.


2. Decide what you need from an agent and choose accordingly. Some agents excel at career planning, some are great first readers/editors, others are ace encouragers and hand-holders, still others are best at organizational skills or negotiating. Decide where your strengths and weaknesses are and find an agent who fills in where you are lacking.


3. Don't rush into the first offer that comes along. Once you have an offer for representation, talk to some of that agent's clients to learn about their style of agenting.

Oh dear, I’m prattling on again – especially when there is so much work to be done. Let me end with author, Patti Lacy, who is thrilled with the release of her newest novel, Rhythm of Secrets. Her advice is succinct and thoughtful, from her wealth of experience.

1. One who loves your writing.


2. One whom YOU love.


3. One who can get phone calls returned pronto. In other words, A Presence.


Well ducks, I’m quite finished for now. Perhaps, the lovely Alley Cats will invite me back again when I have some more juicy tidbits of information to share. Should you all be curious about another topic, feel free pass the question along.

For now, sit back, read the wisdom from some lovely authors, and enjoy the tea and Victorian Sponge Cake.

Cheers

Catch A Reader By The Hook

You’re standing in front of a shelve of deliciously tempting books inside Barnes and Noble or Books a Million…or even the library. The smell of imagination cooking between fresh print pricks your curiosity and you scan the rows looking for a title or cover to push you from temptation to commitment. Finally, something snags your attention and you draw the book from the shelf, the promise of a tantalizing visit to otherworlds tingling through your body. (okay, maybe I’m the only one who gets this feeling, but I also write fantasy so it works for me.


You slide your hand across the silken cover dancing with brilliant colors and a magical picture, finally flipping to the first page.

Once upon a time….


It was a dark and stormy night…


It is a truth universally acknowledged….

Either the book grips you in the first paragraph and delivers on its’ promises from the back cover, or you realize…this book is not for you.

So what makes a gripping first line…a first paragraph even?

Part of it has to do with personal preference, I know, but first lines have a tendency to draw us in, catch us, and then hook us like a fish in the water.

With this thought in mind, I’ve listed a few ‘first lines’ in books (old and new) as an example. See what you think.

“Scarlet O’Hara was not beautiful, but men seldom realized it when caught by her charm, as the Tarleton twins were.” – Gone With the Wind

“Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” David Copperfield

“I have just returned from a visit to my landlord – the solitary neighbour that I shall be troubled with.” – Wuthering Heights by Emily Bronte

“A gentle breeze from the north-east after a night of rain, and the washed sky over Malta had a particular quality in its light that sharpened the lines of the noble buildings, bringing out all the virtue of the stone; the air too was a delight to breathe, and the city of Valletta was as cheerful as though it were fortunate in love or as though it had suddenly heard good news.” – Treason’s Harbor by Patrick O’Brian

“Mr. and Mrs. Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much.” – Harry Potter and the Sorcerer’s Stone by J.K. Rowling

“A long time ago, when all the grandfathers and grandmothers of today were little boys and little girls or very small babies, or perhaps not even born, Pa and Ma and Mary and Laura and Baby Carrie left their little house in the Big Woods of Wisconsin. They drove away and left it lonely and empty in the clearing among the big trees, and they never saw that little house again.” Little House on the Prairie by Laura Ingals Wilder

“There is no lake at Camp Green Lake.” Holes by Louis Sachar

Now for some Christian Fiction examples How do they compete?


“Oh, to be a calculating woman!” Julie Lessman’s A Passion Denied

“Nice girl gone bad. That’s me: Claire Le Noyer.” Kissing Adrien by Siri Mitchell

“Nothing like running late to make a wonderful first impression.” Stand-In Groom by Kaye Dacus

“The day was gray and cold, mildly damp. Perfect for magic.” The Book of Names by D. Barkley Briggs

“Breathe not a word of my visit, Jean. not to a soul.” Thorn in my Heart by Liz Curtis Higgs

“Bran!” The shout rattled through the stone-flagged yard. “Bran! Get your sorry tail out here! We’re leaving!” Hood by Stephen Lawhead

“Dragon riding isn’t all it’s cracked up to be,” Ashley grumbled. Enoch’s Ghost by Bryan Davis.

“Belle Tanner pitched dirt right on Anthony’s handsome, worthless face.” The Husband Tree by Mary Connealy

“They were coming. They were coming! Christophe shoves his little sister, twelve-year old Emile, through a hidden door in the wall, quickly following her.” Love’s First Light by Jamie Carie

Now, interestingly enough, these examples have something in common: They are out to get your attention BUT they use different means to get it.

_ Some draw in the reader with ACTION. You enter the story in motion and are swept into the pages.

-  Some use INTRIGUE…something’s ‘not quite right’, so your curiousity is peaked.

- Some use HUMOR and brings you in with a smile.

- Others use the UNEXPECTED – something is stated (kind of like intrigue) which is out of the ordinary so to keep from teetering on the brink of confusion, the reader must read on.

-Finally some capture you with WORDS, magically descriptive, palpable words which ensnare the senses.

Any way you choose to write it, SOMETHING has to happen in that first paragraph which captures the readers attention to keep them reading…wanting more, inescapably attracted…

and then -

hopefully

You’ve caught yourself a reader.

The Big 4 - Genre Options in Christian Fiction

On Friday, Krista had a fantastic post about the differences between Inspirational Fiction and Christian Fiction. If you want to read about it, go here.



Genre is a tricky thing anyway, I think. There are SO MANY possibilities. And so many ways to mix them together. I’ve been trying to figure them out for a while now, so I wanted to share some of the basics I’ve learned.

Here is a list of the BIG FOUR genres in Christian Fiction, and I’ll try to break some of these down into subcategories.

One of the MOST popular genre in Christian circles is Historical Fiction. Usually the ‘line’ for historical is WWII or maybe even the 1950s. I say ‘historical’ a bit loosely because there are basically two different camps of historical writers.

- People who give great historical detail, including true historical events and even historical figures (such as Nancy Moser’s historical books)

- Others use a historical period as a backdrop for their stories, but use purely fictional characters throughout.

Romance can be a part of these stories, but it usually isn’t the MAIN part of the story. Not if it’s a pure historical. For those of you who write romance in a historical setting, then the next genre is for you ;-)

THE MOST POPULAR Genre in Christian fiction is ROMANCE. Which means, the stories are about love, but that’s about all they could have in common. There are so many subgenre, it’s one of the easiest for first-time writers to enter. MANY of my favorite authors fit into here, of course. Mary Connealy, Julie Lessman, Laura Frantz, Siri Mitchell, Deeanne Gist… you get the point :-)

Historical romance

Romantic Suspense

Prairie Romance

Amish Romance

Fantasy Romance

Romantic Comedy

Those are just a few of the possibilities. We could add various combinations to romance and get another sub-genre, but remember some (BASIC) rules apply to romance. Most publishers want the hero and heroine meeting in the first chapter. The relationship between the hero and heroine is the ‘heart’ of the story and usually the story takes place over a relatively short period of time. There can be some pretty important stereotypes placed on the hero and heroine as well – so researching is an important starting point. :-)

Another BIG Genre is Christian Contemporary Fiction – which is really the ‘catch all’ of novels set in a contemporary world. Christian Women’s Fiction is usually placed within this genre. Chick-lit and Mom-lit would have fit in here, or any character driven novel. Angela Hunt comes to mind and some of Deb Raney and DiAnn Mills novels as well.

The fourth BIG genre (and one of the newest) is Christian Suspense and Mystery. The ‘who done it’ stories as well as the ‘thrillers’. The three main subgenre here are:

Romantic mystery

Romantic suspense

Cozy Mystery – these are your ‘sweet’ mysteries, without the graphic violence.

(Legal suspense novels and the new Christian ‘thrillers’ are becoming a larger subgenre here – Steven James, as an example)

A few other subgenres are – Christian Biblical Fiction (The Centurion’s Wife, Abigail), SciFi & Fantasy, Westerns, Adventure (House of Wolves is a VERY good example here), and even Horror – I might be tempted to put some of Ted Dekker’s books here)

So, when it comes to you – what genre do you read? AND what genre do you write?

Can you narrow it down to a subgenre, or do you get stuck in the gray sometimes like me? I have a historical novel that has a strong romantic element, but the heroine’s journey is as strong by itself as the romantic journey. So what do I do? Is it historical or is it romance?

Do you guys ever get a little lost in the genre fog?

Creating Character Emotion from Michael Hauge

Good mornin’ all.


Pepper here, and I’m currently going through a great DVD series by famous scriptwriter and speaker, Michael Hauge. It’s called The Hero’s Two Journeys and is filled with fantastic info I want to share with you guys.

First of all, I’d like to ask you a question.

Why do you read fiction?

I mean, really. Bare bones answer.

If you’re really honest, one of the reasons you and I read fiction is to experience adventures we don’t experience in the everyday. To become emotionally involved in a story. To escape into someone else’s journey.

At the heart of it all – emotions.

Usually, the reason we keep reading a book is because, from the first page, our emotions become involved and we MUST finish the story.

Michael Hauge gives 5 ways to help readers identify with the characters, thus building emotion. What does your hero/heroine need to capture a reader’s emotions?

1. Make the character sympathetic – For example, in the movie Sleepless in Seattle, we immediately feel sorry for Tom Hank’s character because we learn from the first that he’s lost his wife. We’re emotionally drawn into the story to see how the character will overcome, or move past this heartbreak. Or in Laura Frantz' newest novel, Courting Morrow Little, about a young girl whose family was wiped out by rebel Indians. The first chapter grabs the reader and has him/her asking questions about 'what would this type of loss cause a girl to be like when she's grown?"

2. Place the character in jeopardy or danger – Your best suspense stories start this way. Peril. All the CSI shows, or Castle (one of my favorites), or Criminal Minds. They all start with peril. The Fugitive with Harrison Ford starts off with a tragedy that immediately puts the hero in danger, AND builds sympathy because his wife dies. Jamie Carie in her novel Love’s First Light starts the first chapter with the main character running for his life during the French Revolution. While he hides, he watches his entire family go to the guillotine.

3. Make the character likeable – Good people cause us to want to read more. Not only does Julie Lessman make Faith O’Connor passionate in A Passion Most Pure, but she is kind and giving. Her inner conflict with her love for Collin versus her love for her sister and her God, makes us want to root for her.

4. Make the character funny – Nobody does character humor like Mary Connealy, and in all of her books, she starts off the stories with humor…and peril. – so you get two for one. Usually the characters are likeable too.  Humor immediately builds emotional connection. We love to laugh, so it makes us want to keep reading.

5. Make the character powerful – (skilled, determined) Is your character good at something? Skilled. Most of John Grisham’s novels have a hero who is brilliant at some occupation or particular skill. Tillie, in Deanne Gist’s novel Maid to Match, is very good at her job as one of the head maids for the Vanderbilts. Harry Potter’s own Hermoine was brilliant, a walking encyclopedia, on The Mentalist , the main character has a way of reading people’s body language to solve crimes. (He gets some of the best lines in that show too).

So, here are a few tips. Which ones are you using in your wip? It’s important to employ 2 or more to get the most emotional bang for readers.

Tell us about it.