Saturday, April 30, 2011
Tuesday, April 26, 2011
- Between the brilliant idea and the first draft
- Between the first draft and the 20th draft
- Between the polish and the query
- Between the query and agent representation
- Between representation and an editor's "yes"
- Between the "yes" and the boxful of books shipped to your doorstep
- Between the boxful of books and the sale of book #2 (or 3 or...)
Saturday, April 23, 2011
Lennie plays second clarinet in the school orchestra and has always happily been second fiddle to her charismatic older sister, Bailey. Then Bailey dies suddenly, and Lennie is left at sea without her anchor. Overcome by emotion, Lennie soon finds herself torn between two boys: Bailey's boyfriend, Toby, and Joe, the charming and musically gifted new boy in town. While Toby can't see her without seeing Bailey and Joe sees her only for herself, each offers Lennie something she desperately needs. But ultimately, it's up to Lennie to find her own way toward what she really needs—without Bailey.
Tuesday, April 19, 2011
- Musicians are validated when fans buy their music.
- Teachers are validated when a struggling student breaks through.
- Employees are validated when they receive a raise or promotion.
- Parents are validated when they receive compliments about their children
Saturday, April 16, 2011
Tuesday, April 12, 2011
- It is essential to the story. It must advance the plot, reveal character, and reflect theme.
- It comes from one character to another character. Fictional dialogue must not be seen as an attempt to dump information.
- It has conflict or tension. Bell repeats Hitchcock's principle that great dialogue has the dull parts taken out.
- It sounds just right for the piece. Dialogue should keep readers in the story instead of pulling them out.
- It sounds just right for each character. Consider vocabulary, favorite words and expressions, regionalisms, dialect, and syntax.
- It isn't real life speech. Fictional dialogue must have the suggestion of real speech, but every word is purposeful (careful with um and uh).
- It is compressed. Bells suggests that unless a character has a strong reason to run off at the mouth, strive for crispness in word choice.
- It is rich with subtext. Bell states that "In great dialogue, what is unsaid is as important as what is spoken out loud."
Saturday, April 9, 2011
- Drama and humor go together like peas and carrots (for you Forrest Gump fans out there). Cameron experiences a life or death situation, but the book is funny. Seriously.
- Embrace the unexpected plot twist. This book should require a seatbelt. The author cleverly whisks her readers away on a crazy journey. There's no way to predict what will happen to these characters.
- We should let go of our fears and inhibitions & let our imaginations run wild. This book showed me that sometimes the zaniest scenes work, depending on the storyline.
- The acknowledgement pages can be just as entertaining as the book. Bray opens this section with, "I would like to thank everyone I've ever kissed or punched and anyone who has ever kissed or punched me." And it only gets better!