Writing lessons learned from SHARP OBJECTS

I recently plowed through SHARP OBJECTS, by Gillian Flynn. After Flynn's Gone Girl shot to the top of my list of favorite books, I realized I not only love inspirational romances. Apparently I also like dark, twisted dramas. Sharp Objects is definitely dark and twisted, but sooo good.

As always, I learned several important writing lessons from this book. Before I get to that, here's a little bit about Sharp Objects:

Fresh from her brief stay at a psych hospital, Camille Preaker's first assignment at her second-rate daily paper takes her reluctantly back to her hometown to cover the murders of two preteen girls. As she works to uncover the truth, Camille finds herself identifying with the young victims--a bit too strongly. Dogged by her own demons, Camille will have to confront what happened to her years before if she wants to survive this homecoming.

And now for my writing lessons learned. (Warning! If you haven't yet read "Sharp Objects," and don't want to know any plot points, STOP!)

• When writing a murder mystery, add an unforgettable detail. Without giving too much away, let  me just say that there was a strange detail that included teeth. I swear, I keep thinking about those darn teeth. The author did a great job of embedding a disturbing detail in my mind.
• Mystery solved? Not so fast! Just when I thought the mystery was solved, BAM! It so wasn't solved. The author messed with my head, including one last glorious surprise. This was a great reminder to me to not rest on a good ending. Consider a major twist in those final pages.
• Downer of a main character? Show the reader why. In the opening pages, I could tell that Camille was a cynical downer. I didn't love her and I didn't hate her. I felt sorry for her, and was intrigued by her story. Once I met her mother, and other residents of her small town, I understood why she was who she was. The author made me curious about the backstory, but threaded it in slowly.
• Paint the setting with "showing" details. The author never said Wind Gap, Missouri was a place worth running from. She showed us through the in-a-rut townspeople, the depressing bars, and the nasty gossip. I understood why Camille fled her hometown as soon as she could. (A quick Google search tells me Wind Gap, Missouri isn't a real place. True? Does anyone know for sure?)
• Find a unique way to show your character's inner turmoil. Again, without giving too much away, I'll just say that Flynn used words in a unique, disturbing way to show Camille's turbulent past.
• Consider an unhappy ending. However, genre really matters here. I've been frustrated with endings to Nicholas Sparks' novels before, because I want my romances to end happily. In a dark drama like this, and in Gone Girl, the unhappily ever after works.

Footnote: Gillian Flynn is also a master at metaphors.

Have you read Sharp Objects? How about Gone Girl? What are your impressions of these lessons learned? Any you've tackled in your own fiction? Please share!

Wait! Before you go...here's an announcement from Janice Hardy:

Looking for a Fun Kidlit Writers' Conference? Give Springmingle a Try. Springmingle '15 Writers' and Illustrators' Conference will take place on March 13-15, 2015 in Decatur, GA. 

This year's conference faculty includes: Giuseppe Castellano, Art Director at Penguin Young Readers Group; Karen Grencik, Literary Agent/Co-Founder of Red Fox Literary, LLC.; Elise Howard, Editor, Algonquin Young Readers; Bill Mayer, Award-winning Illustrator; Meg Medina, Award-winning Author; and Neal Porter, Publisher, Neal Porter Books, imprint of Macmillan Children’s Book Group. 

Visit their website for a complete listing of workshops.

Writing lessons learned from COMPULSION

I read a lot over the Christmas break, so I'll share another post about writing lessons learned from great fiction! I had the pleasure of reading COMPULSION by Martina Boone, who just happens to be a friend and wonderful blogger. If you haven't stopped by Adventures in YA Publishing, you should. Martina's blog is packed with advice, giveaways, and workshops.

Before we get to the lessons, here's a bit about Compulsion:

All her life, Barrie Watson has been a virtual prisoner in the house where she lived with her shut-in mother. When her mother dies, Barrie promises to put some mileage on her stiletto heels. But she finds a new kind of prison in her aunt's South Carolina plantation instead--a prison guarded by an ancient spirit who long ago cursed one of the three founding families of Watson Island and gave the others magical gifts that became compulsions.

Stuck with ghosts of a generations-old feud and hunted by forces she cannot see, Barrie must find a way to break free of the family legacy. With the help of sun-kissed Eight Beaufort, who knows what Barrie wants before she knows herself, the last Watson heir starts to unravel her family's twisted secrets. What she finds is dangerous: a love she never expected, a river that turns to fire at midnight, a gorgeous cousin who isn't what she seems, and very real enemies who want both Eight and Barrie dead.

This book was beautifully written, with a setting authentic enough to be its own character. Here are my writing lessons learned from Compulsion (Alert! If you haven't yet read Compulsion, and don't want to know any plot points, stop! But please come back after you've read the book):

• Show early signs of a special gift: if the story is paranormal, it's a great idea to show the reader the unexplained. If the story isn't paranormal, the author can still show qualities like the gift for gab, or a knack for not following directions. In Barrie's case, she's in a taxi early in the story when we learn she has a gift for finding lost things.
• Introduce the love interest early, even if it's only for a moment: a staple for fans of romances, but even for YA readers who swoon over the adorable guy. Barrie meets Eight Beaufort soon after she arrives at her aunt's plantation. He lives in the neighboring mansion, and also has gifts of his own.
• Leave a trail of unanswered questions: as questions are answered, new questions pop up, which kept me curious. For example, Barrie's mom was burned in a fire, and she allowed her family to believe she was dead. Why?
• Just when the reader has it all figured out, change things up: just when I thought I had all these characters figured out, Boone added a new surprise about the curse, the feud, or a twist on mythology. It kept me on my toes.
• Weave mythology in organically: I don't usually gravitate toward stories with mythology, but in this case, it was woven in the story in an interesting way after I'd already gotten to know the characters. The story first introduces a girl who's lost her mother, and then moves on to the boy, and the curse, and a family feud. Mythology wasn't dumped in like a textbook. It was woven in naturally through story events.
• Make each scene work overtime: with each scene, there were multiple plates spinning. It wasn't just the main character going somewhere or doing something. There were interactions with other characters--real or not--as well as inner dialog and forward movement. Compulsion provides excellent examples of scenes earning their keep and working overtime.

Have you visited Martina's blog? Have you read Compulsion yet? Any thoughts you'd like to add? Please share!

Writing lessons learned from LOVE UNEXPECTED

I recently finished another wonderful book by Jody Hedlund--Love Unexpected. In my opinion, there are so many great writing lessons to learn from Hedlund's fiction. I'll share some of them below. But first, about Love Unexpected (from Amazon.com):

All Emma Chambers ever wanted was a home, but when her steamboat sinks just outside Presque Isle, she's left destitute and with no place to stay.

An unlikely solution arises when the lighthouse keeper arrives in town. He's just lost his wife and is having a difficult time caring for his child. So a traveling preacher gets the idea that the keeper and Emma might be the answer to each other's dilemma. After a hasty marriage, she finds herself heading to the lighthouse with this handsome but quiet stranger. Nothing in her aimless life, though, has prepared her for parenting a rambunctious toddler, as well as managing a household. 

Emma soon suspects Patrick may be hiding something from her, and then she hears a disturbing rumor about the circumstances surrounding his late wife's death. It seems as if her wish for a home and family of her own could end up leading her once more into turbulent waters.

Here are some writing lessons I learned from this inspirational romance (Alert! If you haven't yet read this story, and don't want to know any plot points, come back to this post once you've finished the book):

• Open with action: we hear this all the time, right? But Hedlund does this so well. The opening pages include pirates, a shipwreck, and a rescue at sea. Bam! It also reveals the bond between Emma and her brother, as well as the greed and cruelty of pirates.
• Bring on the desperation: both Emma and Patrick are desperate. She's desperate for a home. He's desperate for a helping hand. Their desperation pushes them together and makes them consider a hasty wedding, even though they've just met.
• Shady past adds intrigue: Patrick admits he has a criminal past, but the reader isn't aware of what he's done. Emma once turned a blind eye to her late father's wrongdoings. Both characters have something to hide. It adds a layer of darkness and intrigue that make the characters more interesting.
• Play up the inner demons: Patrick carries a lot of baggage and is now trying to live a Godly life. Story circumstances add conflict and dredge up the past, which create a reformed man we can root for.
• Hurt the ones they love: betrayal is so much more powerful when it's between people who love and trust each other. Emma doesn't intend to betray Patrick, but she does. This hurts him deeply--much more than if the villain had betrayed him. This betrayal adds another layer of emotion to the story.
• Decisive moment that shows character: at one point in the story, Patrick must decide whether or not to help a bad person. He weighs this decision carefully in a "What would Jesus do?" moment. His decision sets up series of harmful events, and shows his true character.

Have you seen these writing lessons in books you've read? Have you used them in your own fiction? Have you read Love Unexpected? Anything you'd like to add? Please share!

Writing lessons learned from THE LONGEST RIDE

I'm a huge Nicholas Sparks fan, so I was excited to read The Longest Ride. Of course I learned some helpful writing lessons!

First, a little about The Longest Ride:

Ira Levinson is in trouble. Ninety-one years old and stranded and injured after a car crash, he struggles to retain consciousness until a blurry image materializes beside him: his beloved wife Ruth, who passed away nine years ago. Urging him to hang on, she forces him to remain alert by recounting the stories of their lifetime together--how they met, the precious paintings they collected together, the dark days of WWII and its effect on them and their families. Ira knows that Ruth can't possibly be in the car with him, but he clings to her words and his memories, reliving the sorrows and everyday joys that defined their marriage.

A few miles away, at a local bull-riding event, a Wake Forest College senior's life is about to change. Recovering from a recent break-up, Sophia Danko meets a young cowboy named Luke, who bears little resemblance to the privileged frat boys she has encountered at school. Through Luke, Sophia is introduced to a world in which the stakes of survival and success, ruin and reward--even life and death--loom large in everyday life. As she and Luke fall in love, Sophia finds herself imagining a future far removed from her plans--a future that Luke has the power to rewrite...if the secret he's keeping doesn't destroy it first.

Ira and Ruth. Sophia and Luke. Two couples who have little in common, and who are separated by years and experience. Yet their lives will converge with unexpected poignancy, reminding us all that even the most difficult decisions can yield extraordinary journeys.

Ok, and now for some writing lessons learned. Warning! If you haven't yet read The Longest Ride, and don't want to know any plot points, read no further:

• Open with detailed character information--the book opens with Ira's pov like this: I sometimes think to myself that I'm the last of my kind. He's an old man who's been in a car crash. He reflects on early lessons his dad had taught him, such as never count money in public, hold doors open for women and children, and always give a customer more than expected. These life lessons tell us a lot about the type of man who's been in a car crash. I immediately liked him.
• Remind the reader of the character's predicament--Ira is injured, cold and thirsty. He reminisces with his long-dead wife, recalling their love story. Every few paragraphs the author brings us back to the present, by injecting lines about Ira's pain, the falling snow, and the oncoming night.
• Reference a life-saving anecdote early--Ira likes to watch TheWeather Channel. He recalls a story where a man survived a crash for over 60 days by eating snow. This memory comes into play later in the book, but it makes sense because it was established early.
• Embed threads between two alternating stories--we have two parallel stories happening. Ira and Ruth. Sophia and Luke. I wondered how these two stories would connect, and paid attention to details that would finally bring them together. The author did a great job of keeping me curious, while also planting clues along the way.
• Stupid makes sense--if the character has to do something stupid, like ride an angry bull even though he doesn't want to, give him a moral reason to do it. Luke shouldn't ride bulls anymore (I won't spoil the story here) but he does it anyway. Why? Not for fame or accolades, but to help his mom.
• Eliminate short, choppy scenes--I actually got this tip from one of my beta readers for my own book. I had tied up the book with a few short scenes at the end. She suggested I pull what I needed from those scenes and write one significant scene. So I did. I was surprised by the amount of short, choppy scenes at the end of this book. It's still amazing, but that ending could've included one significant scene with the details from the short scenes.

What do you think of these writing lessons? Have you used any of them in your own fiction? Are you a Nicholas Sparks fan? Do you like stories with old/young points of view or parallel stories that merge at the end?

Writing lessons learned from GONE GIRL

Quick...before the regular post, are you participating in NaNoWriMo? I am! You can find me here.

As you probably learned in my post Unredeemable Characters and Unhappy Endings, I absolutely loved Gone Girl by Gillian Flynn. Like, I'm obsessed. As a reader, I was entertained. As a writer, I was blown away by the author's skill.

It was tough to whittle down the lessons learned to a manageable list, without giving too much away. Fair warning...if you haven't read the book yet, and don't want to know anything about the story, stop!

First, about Gone Girl:

On a warm summer morning in North Carthage, Missouri, it is Nick and Amy’s fifth wedding anniversary. Presents are being wrapped and reservations are being made when Nick Dunne’s clever and beautiful wife disappears from their rented McMansion on the Mississippi River. Husband-of-the-Year Nick Dunne isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but hearing from Amy through flashbacks in her diary reveal the perky perfectionist could have put anyone dangerously on edge. Under mounting pressure from the police and the media—as well as Amy’s fiercely doting parents—the town golden boy parades an endless series of lies, deceits, and inappropriate behavior. Nick is oddly evasive, and he’s definitely bitter—but is he really a killer? As the cops close in, every couple in town is soon wondering how well they know the one that they love. With his twin sister Margo at his side, Nick stands by his innocence. Trouble is, if Nick didn’t do it, where is that beautiful wife? And what was left in that silvery gift box hidden in the back of her bedroom closet?

What writing lessons did I learn from this book? Too many to list in this post, but here are my favorites:

• Get to know the missing person. How? In Gone Girl, we get to know Amy, the missing wife, through a series of journal entries. Early entries describe a wonderful romance, but soon the entries become dark and fearful. In my guest post on Traci Kenworth's blog, I listed ways for readers to care about an absent character.
• Unreliable narrator. Nick, the husband/suspect, confuses the reader. Is he concerned about his missing wife? Sometimes. And sometimes it seems his concern is just for show. When he's interrogated by the police he tells us, "It was my fifth lie to the police. I was just starting." After that, I kept wondering if he was lying or telling the truth. I tell ya, this book is filled with liars, cheaters, and psychos. I mean that as a compliment.
• Add personality to the prose. In Amy's diary, she tells how she used to write quizzes for women's magazines. When at a crossroad in her life, she'd write a quiz about it in her diary with multiple choice answers. It was a cute way to get to know the character better.
• If there's a gun on the wall, use it. Remember that saying? If there's a gun on the wall, the writer had better use it? I can't remember who said it. Anyway, there was a couple of clues I picked up on that didn't go further. Nick and his sister Margo are twins. They'd even experienced telepathy. I expected the author to explore that in the story. If it was explored, it was done in a way that I didn't catch. It seemed like a missed opportunity.
• List of suspects. Nick soon becomes the main suspect in Amy's disappearance. He does show signs of innocence, though, like occasional shock and worry. But there are also other characters who could be involved. There's a roving band of homeless men in the town, and there are old flames and stalkers who might have motive to harm Amy.
• Unexpected character backstory. Most protagonists come from messed up families. After all, how interesting are characters who have wonderful lives and come from wonderful families? Amy's parents seem to have the perfect marriage and a charmed life. This made Amy uncomfortable about being single at 31. This perfect marriage also played into the story in unexpected ways. It went against type and also caused problems.
• Treasure hunt for clues. In this story, there was literally a treasure hunt. Amy's anniversary tradition was to send Nick on a treasure hunt, with gifts planted along the trail. She goes missing on her anniversary, and yep, a treasure hunt had already been planned. Cops find clue #1 and gift #1 before Nick does. The gift has been carefully opened. This was a clever way to weave mystery and suspense into the story.

Have you read Gone Girl? Seen the movie? What's your opinion? What do you think of these writing lessons? Are you participating in NaNo? If so, good luck!

Writing lessons learned from CAPTURED BY LOVE

Time to share some important writing lessons I've learned from reading great books! This time it's all about Captured by Love, by Jody Hedlund.

It is 1814 and the British have taken hold of Mackinac Island and its fort. American residents were forced to swear an oath of loyalty to the British crown in order to retain their land. Pierre Durant is a voyageur--a fur trader who left his family home to find freedom and adventure. He's been gone five years and when he returns, his family's farm is at the mercy of the British invaders.

Torn between the life he's grown used to and guilt over leaving his brother and mother, he's drawn back into the loyalist fight against the British--and into a relationship with Angelique MacKenzie, a beautiful local girl who's been befriended by the daughter of the British commander. As tensions mount and the threat of violence increases, both Angelique and Pierre must decide where their loyalties rest, how far they will go to find freedom, and how much they will risk to find love.

Warning: if you haven't yet read Captured by Love, and don't want to know any plot points, read no further!

• Open with intriguing action: The novel opens with Angelique on the run. She's barefoot, at night. The reader is instantly curious. Where is this girl going? Why is she barefoot? Who's chasing her?
• Reveal character with early action: Angelique is running because she's sneaking coveted food to an ill friend. This shows bravery and kindness from the very beginning.
• Bring on the love triangle: I'm a sucker for love triangles. In this case, two brothers care for the same childhood friend. If one of them was a bad person, it would be easy to choose sides. But that's not the case. They're all likable. Tough choices are inevitable.
• Love interest isn't just a pretty face: Too often romance novels feature a hunky love interest who's just eye candy without any depth. Not so in this story. Pierre is a nice person with conflicting loyalties. He's a double agent who's helping the Americans. His good character adds another layer to the love story because it's not just about love. It's also about duty and country.
• Create an anchor: Pierre is a young man who wishes to come and go as he pleases. But now he has an obligation at home--his ailing mother and her decrepit farm. This binds him to the island long enough to fall in love.
• Tighten the noose: Hedlund does a great job of creating several ticking clocks for Pierre and Angelique. The oncoming winter, when Pierre must leave to do his work. The threat of an American invasion of the island. The imminent arrival of Pierre's brother, Angelique's fiancee. These multiple ticking clocks add tension throughout the book.

I love Hedlund's books, and Captured by Love was no exception.

What do you think of these writing lessons? Have you tried any of them yourself? Do you like reading historical inspirational romance?

Writing lessons learned from HIGH AND DRY

I recently read High and Dry, a noir YA novel by Sarah Skilton. It was a fun, dark, gritty read. Full disclosure: Sarah Skilton is a buddy of mine. But believe me, I'm not saying nice things about the book because Sarah's my friend. I speaketh kind words because they're the truth.

First, a quick look at High and Dry (from Amazon):

Framed for a stranger's near-fatal overdose at a party, blackmailed into finding a mysterious flash drive everyone in school seems anxious to suppress, and pressured by his shady best friend to throw an upcoming match, high school soccer player Charlie Dixon is juggling more than his share of drama. Add in a broken heart and the drinking he's been doing to soothe it, and he's near the breaking point. In this fast-paced, layered mystery, Charlie spends a frantic week trying to clear his name, win back the girl of his dreams, and escape a past friendship that may be responsible for all his current problems. 

Now on to the writing lessons learned. Warning: if you haven't read the book yet, and don't want to know any plot points, read no further!

• Begin with voice and character: Skilton's novel begins with a great first line. "I wasn't invited, but I showed up to the party anyway so I could talk to Ellie Chen and find out why she dumped me two weeks ago." Already we know the main character has attitude, and that he doesn't mind breaking rules.
• Create empathy for the anti-hero: Charlie Dixon's internal dialogue makes readers care for him. Yes, he's drinking. Yes, he crashed a party. But we know why--his heart is broken because of a bad break up. Teens (and most adults) can totally relate.
• Motive for blackmail: Blackmail happens, and in fiction, it has to be totally believable. Why would someone blackmail Charlie Dixon? His mom was tasked with school reform and become Enemy #1 in their small desert town. This may or may not be the real reason why Charlie is blackmailed, but he assumes it has something to do with his current predicament.
• Fun slang for only this story: Skilton came up with fun terms used by kids at the high school. Cliques within the school were known as Song Birds (girls' choir), Dot Govs (student council), and Beckhams (soccer players), to name a few. Skilton wrote a great post over at Janice Hardy's blog about Slinging Slang: The Case for Made-Up Words.
• Believable reason to do the wrong thing: Charlie Dixon does many questionable things, but these actions make sense in context. Characters do bad things all the time, and if the reasons are believable, the reader will forgive them--and even root for them.
• Create a cast of suspects: Sheesh, Skilton's book was packed with suspects. Even walk-on characters had dirt under their nails, which kept things interesting.

Have you read High and Dry yet? What's your opinion on these writing lessons? Have you used any of these tips before? Any you'd like to add?

Writing lessons learned from DIVERGENT

Obviously I'm a bit slow, because I finally just read Divergent, by Veronica Roth. As a matter of fact, I broke my own rule and saw the movie first--only because I was part a group of 9, and they all wanted to see that movie. Because I saw the movie first, I almost didn't read the book. But I'm so glad I did. It's amazing.

Fun fact: Shailene Woodley, the actress who plays Tris in the movie, is the daughter of my sons' former elementary school principal!

Here's a quickie description from Goodreads:

In Beatrice Prior's dystopian Chicago world, society is divided into five factions, each dedicated to the cultivation of a particular virtue--Candor (the honest), Abnegation (the selfless), Dauntless (the brave), Amity (the peaceful), and Erudite (the intelligent). On an appointed day of every year, all sixteen-year-olds must select the faction to which they will devote the rest of their lives. For Beatrice, the decision is between staying with her family and being who she really is--she can't have both. So she makes a choice that surprises everyone, including herself.

Here are some cool writing lessons I learned from Divergent. Warning! If you haven't read this book, and don't want to know any plot points, read no further :)

• The world is the way it is--The book opens in futuristic Chicago. Factions were created to keep the peace. The author didn't bog the story down with long-winded explanations of why the world is the way it is. It just is. She trusts the reader to accept it the way it is, knowing more information will follow. I liked that.
• Not all parents are lame--In some YA lit, parents are idiotic, horrible, or lame walk-on characters. Which makes sense, because in real life some parents are idiots, horrible, or lame. Not so in Divergent. Tris loves her family and longs for them. Her parents are portrayed as noble badasses. Veronica Roth's dedication reads, To my mother, who gave me the moment when Beatrice realizes how strong her mother is and wonders how she missed it for so long.
• Don't rush romance--In many books, especially romance, it's important to introduce the love interests right away and start cookin'. In this YA dystopian, it was appropriate to make the reader wait, especially since the romance is a subplot. The romance with Four was a slow burn but totally worth the wait. *sigh*
• Unique inner dialogue--While reading this book, I noticed Tris' inner dialogue was unique: she doesn't use contractions. We make our characters unique when we attach identifying quirks, dialogue tags, and inner thoughts.
• Physical growth matches inner growth--Tris' body morphs from weak and skinny to lean and muscular, just as her character is changing from fearful newbie to brave leader. It was a cool parallel that physically illustrated her character growth.
• Story problems widen beyond the main character's initial worries--Tris' story problems change and grow. At first she worries about leaving her parents. Then she worries about her rank, and surviving Dauntless training. But then BAM! Those worries are swept away when war leaps to the top of her worry list.

The print version also had fun back matter, like the faction manifestoes, details on how the author came up with faction names, and topics for discussion.

What do you think of these writing lessons? Have you used any in your own fiction? Have you read Divergent? What did you think of it? And a fun question: which faction would you choose?

Bonus tip: has anyone else been having trouble receiving blog posts via email? For about three weeks I didn't receive my own blog posts, and many others, in my email inbox. After some digging, I found this forum thread. I made a couple of adjustments and now I'm back in business. I hope the link is helpful!

Writing lessons learned from #WOOL

It's been way too long since I've shared some of my writing lessons learned from great fiction! Today I'll gush about WOOL, by Hugh Howey. These notes are based on the omnibus edition of the story, but you can download part one for free here.

First, a brief description of book one:

Thousands of them have lived underground. They've lived there so long, there are only legends about people living anywhere else. Such a life requires rules. Strict rules. There are things that must not be discussed. Like going outside. Never mention you might like going outside. Or you'll get what you wish for.

I've learned some important life lessons from Hugh Howey, like the one I detailed in this post "Are you the Tiger Woods of publishing? Does it matter?" But I also learned amazing writing lessons from his books. (Alert! Read no further if you don't want to know any plot points!)

• Keep the secrets coming: the entire WOOL series thrives on the unknown. Why is humanity living underground? When was the silo built? Who built it and why? Who's good? Who's bad? Who's withholding the truth? All these questions kept me turning the digital pages.
• Provide good reasons for secrets: folks who live in the silo are punished for asking too many questions. Wanna explore the outdoors? Buh bye, you're dead. This provides a great reason why the characters don't know much about their living conditions. They accept their reality and don't dare question it.
• Give it a rest: WOOL builds tension at a steady pace until soon it's break-neck. But Howey does a great job of giving small rests. For instance, opposite sides start fighting. Bullets fly. While all this happens, we're watching a mechanic fiddle with a radio for communication. It's not much of a rest, but it's there.
• Build conflict among books & among the series: Howey not only creates tense action and meaningful character arcs within each book, he also does this along the entire series. Stakes rise and conflict builds chapter by chapter, book by book. (By the way, I totally admire writers who write series. What a great skill)
• Answer a question, introduce a question: just like secrets, Howey doles out questions throughout the entire series. As one question is answered, another is introduced. Readers don't know everything until the final chapter of the last book.
• Multiple points of view? No problem: most of the series is from one point of view, but many other points of view were expressed when needed. This didn't bother me a bit. It gave me insight to areas of the story the main character wasn't aware of.

Have you read any books from the WOOL series? What's your opinion of these writing lessons? Have you used any of these writing techniques? Please share!

My kids are on spring break next week, so I'll skip next Wednesday. The next post will be up April 30th--with a special guest!

Writing lessons learned from REBELLIOUS HEART

I'm counting down to the release of The Boy Who Loved Fire on January 28th! You can mark it as Want To Read on Goodreads here. Please stay tuned to this blog and on my Facebook Author Page for updates :)

And now, on to the writing lessons I learned from Rebellious Heart. I'm a big fan of bestselling author Jody Hedlund's books, and I can honestly say this story was my fave. Danger, petticoats, and romance, oh my! Here's a brief description of the book from Jody's website:

In 1763 Massachusetts, Susanna Smith has grown up with everything she's ever wanted, except one thing: an education. Because she's a female, higher learning has been closed to her but her quick mind and quicker tongue never back down from a challenge. She's determined to put her status to good use, reaching out to the poor and deprived. And she knows when she marries well, she will be able to continue her work with the less fortunate.

Ben Ross grew up a farmer's son and has nothing to his name but his Harvard education. A poor country lawyer, he doesn't see how he'll be able to fulfill his promise to make his father proud of him. When family friends introduce him to the Smith family, he's drawn to quick-witted Susanna but knows her family expects her to marry well. When Susanna's decision to help an innocent woman no matter the cost crosses with Ben's growing disillusionment with their British rulers, the two find themselves bound together in what quickly becomes a very dangerous fight for justice.

And now the writing lessons I learned from this amazing inspirational romance (Alert! Read no further if you don't want to know any plot points!):

• Opening scenes can do triple duty: In this case, 1) a man is found guilty of murder, 2) character reveal—Susanna shows compassion for the convicted man, and 3) introduces love interest, Benjamin Ross (Hedlund is great at introducing the love interest early). There's lots going in in the opening pages; no word is wasted.
• Layered conflict: this story takes place pre-revolutionary war. We have a murderer on the loose, British soldiers roaming the countryside looking for traitors, a love interest involved in the forbidden Caucus Club, and we have the temptation to break the law in order to help a poor, indentured servant girl. Layers and layers here, which keeps the reader on her toes.
• Character conflict from the start: Susanna is a well-bred lady from a prominent family. Benjamin Ross is the son of a farmer who sold land to pay for Ben's Harvard education. There's no way this couple can be together. Which leads me to…
• Bind the couple together: Susanna and Ben share a love of books. They also conspire to help an indentured servant. Even though they can't be "together," they're forced together by circumstances. It's organic because of who these characters are.
• Write in scenes: I've mentioned in previous posts that Hedlund is an expert at this, but it bears repeating. Scenes are not written as this happened, then this happened the next day, etc. Hedlund jumps ahead to the scene that matters. Any necessary details from the lapse in time are filled in.
• Use setting details to set the mood: Rebellious Heart takes place in a Massachusetts seaside village. It's warm and sunny during a lighter moment between Susanna and Ben. It grows gloomy and cold as the story tension mounts. Hedlund also uses wonderful analogies that refer to the sea, which further solidifies the story world.

Fun fact: Rebellious Heart was based on the love story between John Adams—the first vice president and second president of the United States—and his wife Abigail. I adored this story before knowing that, and loved it even more once I learned that little nugget of truth. If you love love, and if you love historical novels, I'd highly recommend this book.

What do you think of these lessons learned? Do you use any of these devices when writing your own books? Anything you'd like to add? Please share!

Writing lessons learned from THE MAZE RUNNER

All three of our sons have read and loved THE MAZE RUNNER by James Dashner. One of my 13-year-olds pestered me about reading this book until I finally relented. I'll admit, it took me a few chapters to get into the story. But once I did? I blew through it.

This author did so many things right, but I'll focus on my favorite writing lessons. (Alert! Read no further if you haven't read this book yet and don't want to know any plot points)

• Reader and main character question the story world together: Thomas, the main character, had no idea where he was or why he was sent there. He didn't know how old he was. He questioned everything because he was curious. I was curious, too.
• If you're using story slang, keep it to a minimum: this story had a few unique words--Greenie, shank, shuck-face, klunk. The author did a good job of repeating these few words without overwhelming the reader.
• Groundhog Day: Thomas' memory had been wiped, yet he kept feeling as if he'd been in the maze before. Most of his new life was new and unfamiliar, but then he saw or felt something and knew it wasn't the first time. I was intrigued, and wondered what the backstory was.
• Mysteries within mysteries: Another kid accused Thomas of being a traitor...of being responsible for their predicament. Was it possible Thomas was a bad guy in disguise? A mystery within a mystery. I wanted to know more!
• Avoid confusion: a girl arrived in "the box," with a note saying she's the last one. At first I thought it meant she was the last girl, but then learned otherwise. A couple of words would've clarified that point.
• Necessary world: with a grand story like this, I'd imagine the author could've gotten carried away with world details. But Dashner did a great job of only sprinkling in necessary details when they were important. By spoon feeding world to the reader, it wasn't overwhelming. It was a great blend of action, world, and dialog.
• End book one with something new: without giving too much away, I know that Book 2 will be in an entirely new setting. It'll include some of the characters I'd come to know, but it'll be infused with new characters who showed up at the end of Book 1. Really smart. 

My son was glad to know I'd be moving on to Book Two of the series. I'm sure I'll learn from that book as well! Side benefit: chatting about books with my boys. #win

Have you read this book or the series? What do you think of these writing lessons? And if you write fantasy, dystopian or paranormal, do you sometimes get bogged down in world details? How do you avoid that?

Writing lessons learned from NINETEEN MINUTES

Hey, friends! I hope you're all enjoying your summer. While on vacation, I re-read NINETEEN MINUTES, which was written by one of my favorite authors, Jodi Picoult.

From Amazon:

Sterling is a small, ordinary New Hampshire town where nothing ever happens--until the day its complacency is shattered by a shocking act of violence. In the aftermath, the town's residents must not only seek justice in order to begin healing, but also come to terms with the role they played in the tragedy. For them, the lines between truth and fiction, right and wrong, insider and outsider have been obscured forever. Josie Cormier, the teenage daughter of the judge sitting on the case, could be the state's best witness, but she can't remember what happened in front of her own eyes. And as the trial progresses, fault lines between the high school and the adult community begin to show, destroying the closest of friendships and families.

In my opinion, Picoult is a brilliant storyteller. I learned many writing lessons from this book, but here are some of my favorites (Warning! Avert your eyes if you haven't read this book yet and don't want to know any plot points):

• Open with the theme & reference to the title: depending on your perspective, nineteen minutes can zoom by or be agonizingly slow. Picoult opened her book like this...In nineteen minutes, you can mow the front lawn, color your hair, watch a third of a hockey game. In nineteen minutes, you can bake scones or get a tooth filled by a dentist; you can fold laundry for a family of five...In nineteen minutes, you can stop the world, or you can just jump off it. In nineteen minutes, you can get revenge. Already we had mood, title, and theme. 
• Chaos breeds confusion: the scene was a high school shooting, and the level of confusion made it seem real. We got the cop's point of view, which showed us the "fog of war." Who's a victim? Who's running to safety? Is one of them the shooter? That scared boy crouched by the lockers, is he a victim? The shooter? The pov character's inner thought here was crucial, coupled with bursts of dialog.
• Journal entries in pieces: throughout this book, snippets of journal entries were introduced. At first I assumed they were written by the shooter, but later I wondered if they were written by another troubled character. Just like in 13 REASONS WHY, we got brief glimpses into the mind of a character who had reached the end of the line. The regular story thread kept the plot moving, but these glimpses were good reminders of how much pain the character was in.
• Consider attaching only one character name per letter: with such a brilliant book, this small complaint is petty but worth mentioning. One main character's name was Patrick, another was Peter. When a paragraph opened with the name, it took me a couple of sentences to realize which "P" person it was.
• Assign each character a unique backstory: there were many characters and moving parts to this book. Each character had their own easily recognizable backstory. I wouldn't say each of these characters had super-sized unique voices--the author's voice is very distinct--but they each had a unique story that was obvious from the first words of the scene.
• Add one detail that doesn't fit in: one bullet hadn't been found during the investigation. It came from a gun that had been fired but then jammed. I knew this was significant. In fact, it led to a big twist at the end. The missing bullet was mentioned maybe three times before the twist was revealed. It was there, lurking in the background, which kept me curious.
• Tackle tough subjects: one thing I love about this author is that she boldly plunges into difficult subjects. In an interview on her web site, she explains how sometimes we can process these touchy subjects easier through fiction. She shows the story from all angles in such a way that we understand why her characters do what they do. Why they chose what they chose. And why life can be so darn complicated.

Despite the gut-wrenching subject, this book kept me just as riveted the second time around. 

Have you read any of Picoult's books? What did you think of these writing lessons?

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Writing lessons learned from CROSSED

I recently read CROSSED, by Ally Condie, book two in her MATCHED trilogy. If you want to read my writing lessons learned from book one, click here. Like I mentioned in that earlier post, I absolutely love Condie's writing style. Mmm, mmm, good.

From Goodreads:

In search of a future that may not exist and faced with the decision of who to share it with, Cassia journeys to the Outer Provinces in pursuit of Ky--taken by the Society to his certain death--only to find that he has escaped, leaving a series of clues in his wake. Cassia's quest leads her to question much of what she holds dear, even as she finds glimmers of a different life across the border. But as Cassia nears resolve and certainty about her future with Ky, an invitation for rebellion, an unexpected betrayal, and a surprise visit from Xander--who may hold the key to the uprising and, still, to Cassia's heart--change the game once again. Nothing is as expected on the edge of Society, where crosses and double crosses make the path more twisted than ever.

Did I learn writing lesson from this book? You bet! Here they are (Warning! Avert your eyes if you haven't read this book yet and don't want to know any plot points):

• Brief references to important moments from book one--I've never written a sequel, but I recognized a great technique in Crossed. Condie weaved snippets of book one into this story. She didn't linger there for long. Just a reference, and a brief connection to how it mattered in book 2. For more help on writing a sequel, visit Janice Hardy's blog and type "sequel" into her search bar. Treasure trove.
• Add new characters--In Crossed, the main players remained the same: Cassia and Ky. But adding new players organically, with new goals and conflict, made book two fresh.
• Simple story goals become bigger--Cassia and Ky were forced apart at the end of book one. In book two, their goals started simple: find each other, and survive doing it. Bits of the story hint at a larger purpose for the two main characters. There was talk of a Rising, and the Pilot who would lead the Rising. It made me wonder how these two characters would fit into that storyline. Which brings me to my next lesson...
• Reluctant leaders--Cassia and Ky thought they were regular people, and for a while, I thought that too. Although they don't think of themselves as a leaders, other people look to them for guidance and information. The reader knew there was more to them than originally thought. I liked that it wasn't an "I'm a leader, so listen to everything I say" sort of thing.
• Bring on the love--For teen girls, and women like me who love love, the romance angle is huge. Yes, the characters were escaping a totalitarian government. Yes, they were fighting for survival. But the love story made reading about all that other stuff more meaningful. Who were they willing to fight for? That was what I wanted to read about.

Have you read CROSSED? MATCHED? What was your opinion? And what do you think of the writing lessons learned. Ever used any of these yourself? Please share!

Writing lessons learned from A NOBLE GROOM

I tore through Jody Hedlund's A NOBLE GROOM in just a couple days. It was the weekend and I had time by the pool! I loved this inspirational romance.

From Jody's web site:

Recently widowed Annalisa Werner has the feeling her husband was murdered but can't prove it. 

Alone with her younger daughter in 1881 Michigan, she has six months left to finish raising the money needed to pay back the land contract her husband purchased, and the land is difficult to toll by herself. She needs a husband. With unmarried men scarce, her father sends a letter to his brother in the Old Country, asking him to find Annalisa a groom.

For nobleman Carl von Reichart, the blade of the guillotine is his fate. He's been accused and convicted of a serious crime he didn't commit, and his only escape is to flee to a small German community in Michigan where he'll be safe. He secures a job on Annalisa's farm but bumbles through learning about farming and manual labor.

Annalisa senses that Carl is harboring a secret about his past, yet she finds herself drawn to him anyway. He's gentle, kind, and romantic--unlike any of the men she's ever known. He begins to restore her faith in the ability to love--but her true groom is still on his way. And time is running out on them all.

Of course I learned writing lessons from this book! Here are my top seven (Warning! Avert your eyes if you haven't read this book yet, and don't want to know any plot points):

1. Don't start the story too late: We know we're supposed to start the story as late as possible, to avoid boring the reader with too much up front information. I appreciated that this story started before Annalisa's husband died. It gave me a glimpse into her troubled life with him without the need for a flashback. Plus, it readied me for how his loss would impact Annalisa's life.
2. Binding goals: In Plot & Structure, James Scott Bell reminds us to give our main characters goals that bind them together during the story. Hedlund did a great job of this. Annalisa's goal was to pay off her debt and keep her farm out of the greedy hands of big shot, Ward. Carl's goal was to survive a death sentence and hide from his enemies. Their goals bound them together and kept them close.
3. Fighting families: Annalisa's family used to serve under Carl's noble father, and felt betrayed by him. But Annalisa didn't know this at first. Conflict simmered because the reader knew how angry and hurt she'd be when she learned Carl's true identity. Family loyalty can create a huge crack between couples in love.
4. Sympathetic characters: From the beginning, Annalisa had it bad--dead hubby, looming threat of losing her farm, a two year old child, losing her freedom to the next groom, plus she was pregnant with her dead husband's child. All that made me sympathize with her before Carl even entered the picture.
5. Fish out of water: We've heard we should drop our characters into unfamiliar territory and see how they handle it. Hedlund did this well. Carl was a nobleman, and not used to manual labor. One of the worst places to drop him? A farm in Michigan. His bumbling attempts at plowing a field and tending to animals was endearing to the reader and Annalisa.
6. Looming clouds: Early on, the reader knew that Carl would only help on the farm temporarily, until Annalisa's real groom arrived. As the story progressed, I remembered that Carl and Annalisa's time together would be short. This gave me the "hurry up and get together" feeling throughout the book.
7. Bring them together, then rip them apart: Another great device for a love story is to bring the love birds together, but have something--or someone--rip them apart. Carl's deception came to light, and he was forced to leave the farming community he'd grown to love. Carl and Annalisa were both crushed by the separation.

There you have it--my writing lessons learned from A NOBLE GROOM. Have you read this book yet? Are you a fan of inspirational historical fiction? Can you share a writing lesson you learned from a great book?

Writing lessons learned from BRUISED

BREAKING NEWS!! Lisa Gail Green's debut novel, The Binding Stone, released yesterday! She's my writing buddy, and I'm super excited for her. Click here to grab your own copy of this awesome YA book.

And now on to my regular post...

I recently finished reading BRUISED, by Sarah Skilton. Bruised was a great book with an amazing voice and many powerful moments. Sarah is a friend of mine, but this isn't friendship talking--this is a reader praising a worthy book.

From Goodreads:

When Imogen, a sixteen-year-old black belt in Tae Kwon Do, freezes during a holdup at a local diner, the gunman is shot and killed by the police, and she blames herself for his death. Before the shooting, she believed that her black belt made her stronger than everyone else--more responsible, more capable. But now her sense of self has been challenged and she must rebuild her life, a process that includes redefining her relationship with her family and navigating first love with the boy who was at the diner with her during the shootout. With action, romance, and a complex heroine, Bruised introduces a vibrant new voice to the young adult world--full of dark humor and hard truths.

Here are some of the writing lessons I learned from this powerful book:

• Open with a snapshot of the major incident--When the book begins, the shootout had already happened. It didn't give a blow by blow of the shootout, only glimpses from Imogen's broken memory. Details of the shootout are dispersed throughout the book. Then Imogen describes the hard work that went into earning a black belt, ending the chapter with this powerful line: "My black belt represents everything I could've done and everything I didn't do, the only time it really mattered."
• Connect love interest through tragedy--We meet Ricky, the love interest, right away. Like Imogen, he hid under a table while the shootout happened. He understands her fears and her struggle to merge back into real life. Ricky wants to learn how to fight, and Imogen teaches him. This connects them beyond school and family.
• Use humor to lighten a dark subject--The author does a great job of injecting humor in unlikely places. It's not just humor for shock value, it's embedded in the character. There's a line in there about a weed whacker that still cracks me up. This wasn't a funny book, but the character's way of looking at life made me smile.
• Sprinkle in unanswered questions--Some questions are answered right away, but there are questions about the shootout that linger on until later chapters. I'd forget about these missing details until the author strategically reminded me. It kept me wondering what I didn't know yet.
• Forgotten past--When characters suffer a traumatic experience, authors can use this to create more mystery. Imogen thinks she cowered under a table during the entire robbery, but then she wonders, why was there blood all over my clothes? It's a mystery, and the author allows the reader and Imogen to discover the truth together. 

Miranda Kenneally, author of Catching Jordan, said this about Bruised: "Raw and real, Bruised is an important read for all teens, especially those who feel they've lost their way. This beautiful book shows the true power of sports."

I couldn't have said it better myself.

Have you read Bruised? What's your opinion of these writing lessons? Have you used them in your own work?

Writing lessons learned from BEAUTIFUL CREATURES

I have to admit, "Beautiful Creatures," by Kami Garcia and Margaret Stohl, is not a book I'd normally read. However, I did enjoy the story and will definitely watch the movie when it comes out on DVD. Here's a brief blurb from the back cover:

Lena Duchannes is unlike anyone the small Southern town of Gatlin has ever seen, and she's struggling to conceal her power and a curse that has haunted her family for generations. But even within the overgrown gardens, murky swamps, and crumbling graveyards of the forgotten South, a secret cannot stay hidden forever.

Ethan Wate, who has been counting the months until he can escape from Gatlin, is haunted by dreams of a beautiful girl he has never met. When Lena moves into the town's oldest and most infamous plantation, Ethan is inexplicably drawn to her and determined to uncover the connection between them.

In a town with no surprises, one secret could change everything.

Here are some of the writing lessons I learned from this book:

• Introduce the love interest soon: readers first experience Lena in one of Ethan's dreams. Ethan doesn't actually meet her until several pages later, but when it happens, it's natural. I've noticed that catchy love stories put the couple together soon, then throw obstacles in their way.
• Create unexpected scene details: Lena's home, old Ravenwood Manor, is known around town as the haunted house with a crazy shut-in who lives inside. When we first read about it, the exterior is as expected...peeling paint, boards creaking, vines covering the windows. But inside, the interior changes to match the mood of the scene...from light and modern to dark and spooky. The interior of the house almost became like another character to me, and I was interested to see how it looked in each scene.
• Create a unifying symbol or artifact: in this case, a crescent moon. It showed up on a necklace, an important book, and in other areas of the story. It all pointed back to the sixteenth moon, when Lena would be "claimed."
• Assign unique smells to locations and characters: the scents associated with Lena were lemons and rosemary. Those same smells came into play in the neighboring plantation, and tied in with the story. Amma, Ethan's beloved housekeeper/caretaker, loved crosswords. The scents associated with her were pencil lead and Red Hot candies. (For help on adding sensory details, see my post Wise Agent Advice: More Fleas, Please)
• Add a ticking clock: Lena writes numbers on her skin and her walls, and we soon learn this is a countdown to her sixteenth birthday. As the numbers dwindled, the tension increased.
• Ambiguous villains, heroes, and adults with secrets make things interesting: Uncle Macon seems like the creepy uncle no one wants to meet. Amma seems like an innocent caretaker who happens to practice voodoo. The librarian seems like a librarian. Each of these characters hold secrets of their own, and good vs. bad becomes a bit blurry. This kept the story interesting.

Have you used any of these writing tips in your own work? If you read this book, did you pick up other lessons you'd like to share?

Writing lessons learned from WORLD WITHOUT END

"World Without End" is the sequel to Ken Follett's bestseller, "The Pillars of the Earth." I read Pillars, but cheated with World Without End and watched the series on Netflix. The books are huge, but if you like historical fiction, these stories are juicy and fun.

Here's the blurb for World Without End from Amazon:

In this epic sequel to The Pillars of the Earth, it is now two centuries after the townspeople of Kingsbridge have finished building its exquisite Gothic cathedral. On a cold November day, four children slip into the forest and witness a killing--an event that will braid their lives together by ambition, love, greed, and revenge.

Follett is a master storyteller, and he's brilliant at conflict. Here are some of the writing lessons I learned from watching World Without End:

• Show good vs. evil--Lines are drawn early in the story, and we're shown, not told, who is good and who is evil. Siblings kill each other, the queen hires a henchman to kill the king, and lovers are kept apart by cruelty. Story events push the good guys further to the good, and the evil guys further into evil. 
• Let villains win--In this story, the good guys can't catch a break. A traitorous lord gains power. A murdering rapist gains favor with the king and is given land and a title. A vain religious man and his wicked mother kill their way to the top without consequences. It's frustrating yet fascinating to watch.
• Revive Biblical premises--There's a Cain and Abel storyline that threads through World Without End, beginning with an opening scene and following through to the climax. Brothers are torn apart and forced to fight from opposite sides. Bible stories are packed with built-in conflict and tough choices.
• Keep lovers apart--Two of the main characters love each other, but can't be together. First, the girl is married off to her beloved's cruel boss. Then she's accused of being a witch, and is forced to become a nun to save her life. The guy tries living his life without her, but he's drawn back to her time after time. It seems they'll never be together.
• No way out--The town of Kingsbridge will battle the king's army, and there's no way they can win. Their backs are against the wall. Community leaders muster the courage of the townspeople, and they figure out A Plan. The storyteller did a great job of making me think there was no way these simple people could win against royalty and his mighty army.
• Character traits during the climax--The story comes down to a battle of freedom vs. tyranny, and all the character work that had been done before comes into play at the end. What seem like flaws for the good guys become their strengths. What made the bad guys seem invincible now make them vulnerable. I love it when that happens.

What's your opinion of these writing lessons? Have you used any of them before? And have you read or watched The Pillars of the Earth or World Without End? Any of Follett's other stories? 

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Writing lessons learned from WHAT HAPPENED TO GOODBYE

I zoomed through my third Sarah Dessen book, WHAT HAPPENED TO GOODBYE. Here's a brief blurb from Amazon:

Since her parents' divorce, Mclean and her dad, a restaurant consultant, have been on the move--four towns in two years. Estranged from her mother and her mother's new family, Mclean has followed her dad in leaving the unhappy past behind. And each new place gives her a chance to try out a new persona: from cheerleader to drama diva. But now, for the first time, Mclean discovers a desire to stay in one place and just be herself, whoever that is. Perhaps Dave, the guy next door, can help her find out.

As I've mentioned before, I've become a huge Dessen fan. Here are some of the lessons I learned from this book:

• Consider a short opening to show character: the book opens with a short scene in a diner, where a lot is revealed. Mclean and her dad move around a lot because of his job.  Mclean's attitude? Instead of looking at her situation as a negative, she views it as an opportunity to reinvent herself in each new town. This perfectly sets up the character quirks, with enough backstory to make it believable.
• Hint at strife: Dave, the love interest, lives next door. Before Mclean meets him, she watches him and his parents through the window, during dinner. Body language conveys that all is not right with this family. No conversation, shoulders rounded in defeat. Without a spoken word, we see that Dave and his parents are not happy.
• Sum up a character in a nutshell: through inner thought, Mclean sums up Dave in one sentence--boy genius, smoothie maker, cellar dweller. It's a tight character description that says so much. It reminded me to use this type of description not only in a query, but in the manuscript as well.
• Character contrasts: at school, the perky welcome-committee-of-one reveals she used to be a drummer in a metal band. With her quilted purse and sunshiney demeanor, this is a pleasant surprise. Dessen does this so well. She slips in fun details without it seeming calculated.
• Serious moment? Add humor: Mclean's dad and his female restaurant manager must decide who's the weak link on staff. Problem is, it's everyone. When Mclean walks in on their discussion, they aren't stressed out and angry. They've opened a bottle of wine and they're goofy with laughter. It's endearing.
• Involve a "together" project: the restaurant manager agrees to put together a model of the city in exchange for parking spaces. Dave is forced into the project to fulfill community service obligations, and Mclean works on it to help her father's restaurant. The couple bonds over this project, and the model city works with the plot as well. It becomes a symbol for finding your own place in your community.

"What Happened to Goodbye" is a quiet book that delves deep into family, community, and the courage to be ourselves. 

What's your opinion on these writing lessons? Have you used these techniques yourself? Please share any tips that have worked well for you.

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Writing lessons learned from ALONG FOR THE RIDE

While on vacation last week, I devoured "Along for the Ride," by Sarah Dessen. I realized that one of things I love most about her books is that they make me smile. Not because they're meant to be funny, but because she has a gift for turning a phrase, and for simple, quiet, emotional character arcs. (For more gushing about Sarah Dessen, see my post "Writing lessons learned from JUST LISTEN.")

Here's a brief description of ALONG FOR THE RIDE from Amazon:

Ever since her parents began fighting, Auden has been unable to sleep at night. Now, spending a summer at a charming beach town with her father and his new family, she has to find new places to pass the time she spends awake. And so she meets Eli, a fellow insomniac who becomes her nighttime guide. Together, they embark on parallel quests: for Auden, to experience the carefree teenage life she has missed; for Eli, to come to terms with the death of a friend. In her trademark blockbuster-style, Sarah Dessen creates a powerful and irresistible story of two people learning how to connect.

Here are some of the writing lessons I learned from this book:

• Give characters unlikely traits: in Dessen's book, a BMX bike rider is good with babies. A ditzy Barbie-style girl is wicked smart. The sometimes cold and calculating main character longs for the simple childhood she missed--she'd never even learned how to ride a bike. This book reminded me not to stereotype.
• Character voice through dialog: this is the second book I've read of Dessen's, and now I definitely recognize (and love) her "author" voice. But each of her characters also have their own voices, and this is mostly revealed through dialog. Demanding mother uses sharp, condescending language. Carefree brother uses "chill" language. People-pleasing main character uses serious language. It all matched the characters.
• Use current life situations to add flavor and authenticity: in her acknowledgements and on her web site, Dessen explains how she wrote this book with a newborn at home. In "Along for the Ride," the main character spends the summer living with her dad, stepmom, and newborn stepsister. She witnesses and experiences the stresses of living with a baby, and the sensory details in these scenes were authentic.
• Show character traits through action: Dad was selfish and clueless, but instead of saying "dad was selfish and clueless," the author showed us. One example is a scene where the main character goes to dinner with her dad and newborn stepsister. The baby goes ballistic. Dad acts helpless, and then hands the baby over the main character, goes inside the restaurant, orders his food, and eats in peace. *Insert looks of disgust from moms here*
• Add something unique that binds the two main characters together: in this case, insomnia. While everyone else was asleep, Auden and Eli traveled around town together, doing childish things Auden had never done, and getting to know each other better.
• Jump ahead, then fall back: I've noticed a device this author uses well. She jumps ahead to the next important scene, but if there's a mini episode from the recent past that matters to the story, but doesn't need a full scene, she refers to it in a couple of paragraphs to bring the reader up to speed. In his book Plot & Structure, James Scott Bell refers to these short bursts as "back flashes."

So there you have it, my writing lessons learned from "Along for the Ride." Have you read this book, or any other books by Sarah Dessen? Are there any writing lessons you've learned lately from a great book? Please share!

Writing lessons learned from JUST LISTEN

Guys, I have a new love. The object of my affection is Sarah Dessen's writing style. Dessen is the author of JUST LISTEN, and several other YA books. In YA circles, I'd heard Sarah Dessen this, Sarah Dessen that. Now that I've read JUST LISTEN, I can see why teen girls love her books.

A brief description from Amazon:

When Annabel, the youngest of three beautiful sisters, has a bitter falling out with her best friend--the popular and exciting Sophie--she suddenly finds herself isolated and friendless. But then she meets Owen--a loner who's passionate about music and his weekly radio show, and always determined to tell the truth. When they develop a friendship, Annabel is not only introduced to new music, but is encouraged to listen to her own inner voice. With Owen's help, can Annabel find the courage to speak out about what exactly happened the night her friendship with Sophie came to a screeching halt?

Here are some of the writing lessons I learned from this amazing book:

• Keep secrets--I feel like I mention this all the time, but that's probably because I really admire authors who do this well. In JUST LISTEN, something bad had happened between Annabel and her best friend Sophie. Something bad had also happened with a guy. But we don't know what these Big Bad Things are until much later. 
• If the protagonist does something out of character, set up the why--Annabel wasn't a rule breaker, but when her new friend Sophie suggests breaking a rule, Annabel crosses that line. Why? An older guy had shown interest in Annabel, and Sophie used that information to lure Annabel to the other side.
• Show important character traits early--Sophie, the best friend, is insecure and controlling. This is shown, not told, very early. As a matter of fact, it's shown in a long flashback (which totally worked, by the way). We learn early on that Sophie is someone you don't want to cross, and her behavior with Annabel makes total sense.
• Consider placing an important romantic moment in an unlikely place--Annabel and Owen don't share their first romantic moment with candles and soft music. Instead, it's at Owen's house, with five thirteen-year-old girls running around, having a fake modeling shoot. It was unlikely and took me by surprise.
• No banging over the head necessary--JUST LISTEN had many layers of important emotions and issues. But Dessen didn't bang the reader over the head. Instead, she quietly and expertly wove a complex story, and she took her time doing so. It was beautiful.
• Quiet books work--JUST LISTEN had zero explosions, zero car chases, and zero shouting. It was a real-life drama at its best and worst, and played out with memorable characters. Even in the quietest moments, something important was happening. Not all readers are fans of quiet books, but I am, especially when they're packed with strong emotion.

When I grow up, I want to write books that affect people the way JUST LISTEN affected me. As a reader and a writer, this book changed me.

Have you read any of Dessen's books? What did you think of her writing style? And what do you think of the above writing lessons? Please share!