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Author Archives: Regina M. Geither

Creating Imperfect Characters for the Perfect Story

           Characters are the heart and soul of a story.  Any book, no matter how good the plot, how interesting the setting, or how clever the twist, must have characters that are distinct, believable, appealing, and imperfect.  Yes, imperfect.  Readers need to relate to the characters in a book within the first few pages.  They need to be able to identify with the character.  And one way a writer can do this is to give a character flaws.

            We’re only human.  Right?  Well, the characters in a book should be too.  No one likes someone who is wonderful in every way, because none of us are.  And having a flawless character will turn off a reader quicker than they can turn a page.  We all have good and bad qualities, talents and limitations, strengths and weaknesses.  And we like to read about characters that are like us–flawed and human. 

            A well-known and well-liked character such as Harry Potter is a perfect example.  Harry is likeable not just because he is kind and friendly, but because he’s just a little messed-up.  Harry is an orphan, he is mistreated by his aunt and uncle, he hangs out with the geeks of Hogwarts, and he has a dark side that he constantly has to wrestle.  We like him because each one of us can see a tiny part of ourselves in him.  All of us feel alone or rejected at one time or another.  Every person feels neglected by friends or family on occasion.  Very few of us are popular and hang with the “In” crowd.  And we all have a not so nice side that we struggle to overcome.  We identify with Harry Potter, and that is why we love him.

            Love or hate the books, we can all identify with the characters from Twilight, as well.  Bella is an ordinary girl who wants to be extraordinary.  She is clumsy and insecure and sees herself as plain and unattractive.  Sound like any teenage girl you know?  But Edward, the handsome, dangerous, bad boy finds her irresistible.  Even Edward, the two hundred year old undead vampire, appeals to our human side.  He is seen as evil by most of the world, except by the one who loves him.  And he struggles with his carnal urges because he is inherently good.  Don’t we all?  And of course there is Jacob who must protect the one he cares about knowing he will never have a real chance with her.  He also struggles with his carnal urges and even sides with the enemy to protect the one he loves.  Stephanie Meyers, for all the flack she has taken about her books, has the human psyche figured out.

            And what about the characters of the Hunger Games?  Can’t we all relate to one or more of them?  First there’s Peeta?  He is kind and good, but not so athletic.  He is a great talker, but not so skilled with weapons.  You just can’t have it all.  Then there’s Gale.  Gale is the strong, hard working, good looking guy who has to sit back and let the girl he loves make all the decisions.  He’s not in the driver’s seat, and he knows it.  Sounds like marriage material to me.  And of course, there is Katniss, our heroine.  Katniss is your typical strong female character, but with a twist.  She, like Bella, is in the middle of a love triangle and must balance her feelings with her obligations to family and friends.  She is stuck in the middle of the Capitol’s plans for control, and no matter what she does, she is set-up to hurt someone she cares about.  Talk about a no win situation.  I’d say that Suzanne Collins has our human nature pegged, as well.

            In my young adult novel, Island of Tory, Arella Cline is the main character.  She struggles with your typical teenage angst.  She is an only child who has trouble relating to her parents, and when her parents are killed in an accident, she feels regret and loss.  Arella doesn’t like rules or authority and rebels against them every chance she gets.  When she is forced to attend a stringent academy, she breaks the rules and then quits.  But in the end, Arella must make a choice.  She must decide whether to side with good or evil, and she knows that no matter her choice, someone she cares about will get hurt.  She is caught between a rock and a hard place, in fact, between a wishing stone and a cursing stone.

            So a writer must keep in mind that readers like their characters flawed.  Readers want to rub shoulders with fellow narcissistic, insecure, rebel loners who redeem themselves in the end by putting others’ needs first.  That’s what makes them human to us.  They are a reflection of who we are, or at least, who we strive to be.

            Island of Tory is available at Amazon.com, Barnes and Noble online, and Joseph-Beth Booksellers online.  Autographed copies are available on this website.

Journey to My Writing Niche

            When I first began writing, I hadn’t a clue on what I should be doing or what I wanted to write.  I only knew I loved the craft and believed I had the potential to be good at it, but my beginning efforts were all over the place.  I didn’t know if I wanted to write essays, short stories, or novels.  I hadn’t even nailed down a preferred genre.  I just knew I wanted to write and be published.  But where to begin?

            I started with short stories.  They were compact enough to keep me interested and the length allowed for repeated editing in a reasonable time frame.  From there I expanded into novellas, though at the time I had no idea that was what I was writing.  I found and joined a writers’ critique group who not only helped me hone my skills, but also introduced me to the many styles, techniques, and genres of successful writers.  I also started attending writing conferences and author talks.  After a time I felt confident enough to attempt a full-length novel, though I still did not know what genre I preferred.

            My first novel turned out to be dystopian, though at the time, I simply labeled it as science fiction.  That was eight years ago, pretty much before anyone had heard of the dystopian genre.  I finished the story in ten months, sent it to one agent and one contest, got rejected by both, and threw it in a draw where it still sits to this day.  Had I known then what I know now and took the time to rewrite and polish it, I might be riding high on the crest of the current wave of dystopian novels hitting the market.  Hind sight is truly 20/20.  But it was my practice novel.  Most writers have one and if you’re afraid to start one, don’t be.  It was my best learning experience.  Editing it would probably have been more work than totally rewriting it, but it was my starting point.  I had written and finished a novel, and I was sure I could do it again, but with more skill.  I was on the path to being published.        

            My next novel was an Arthurian Legend.  Talk about an ambitious biting-off-more-than-you-can-chew project.  Inspired by The Mists of Avalon and the countless other versions of the King Arthur tale, I wrote a whopping 466,000 word manuscript in alternating points of view between Arthur and his sister Morganna.  It took me approximately three years, seventy-six agent rejections, and hundreds of late nights, early mornings, and summer vacation days to realize the genre had had its day in the eighties and was no longer in demand.  Though well written, it wasn’t what people wanted to read.  It too sits in a draw, right next to my dystopian novel.

            Finally, my next attempt was a young adult paranormal fantasy.  I had always been interested in ghosts, alternate realities, UFO’s, cryptozoology, parallel dimensions, and the like.  And being a reading teacher, I knew what kids liked to read and, more importantly, what they did not.  I saw which books were popular, I took what I was interested in, and voila–Island of Tory, my first published novel, was born eleven months later.

            The journey to finding my writing niche was by no means a straight path, but each detour brought me closer to my ultimate goal of being published.  No one has a crystal ball to see what will be the next genre trend, so my advice is write what you like, do it well, and create your own trend.  A good book is a good book, and readers will recognize it when they see it.  And don’t be discouraged when you get a rejection.  A rejection is an opinion of one person at one point in time.  Many great novels and novelists have been rejected by people who now wish they had said “yes” instead.  And if at first you don’t succeed–yeah, you know the cliché–but it’s sound advice that every aspiring writer should remember and live by.  It’s been my writing mantra for years.  It’s helped me reach my goals even when they’ve seemed incredibly impossible.

Real Versus Fictional Settings

           Many writers question whether it is best to set their story in a real location or a fictional one.  There are advantages and disadvantages to each.  In the end it really boils down to preference, but here are a few of the pros and cons I have weighed in my writing:

Real Setting Pros:

1.  The setting is already laid out for you, so site maps are readily available.  In writing my novel, Island of Tory, I used a variety of online maps to get an accurate feel for the location of key points of interest.

2.  People who are familiar with your setting may be intrigued by a story set in a place they know well and are fond of.  This could increase your readership.

3.  The history, folklore, and local stories of a real setting can be woven into your fictional story, giving it authenticity.

Real Setting Cons:

1.  In choosing a real setting for your novel, you risk being inaccurate in your description if not careful, and this could invoke the wrath of readers who demand precision.

2.  There is no room for deviation in a real setting.  If you put a coffee shop or church in the setting, for the sake of your story, where in reality there is none, you chance confusing or even turning off readers who are familiar with what the real setting looks like.

Fictional Setting Pros:

1.  Your imagination is the limit with a fictional setting.  You can put any buildings, landmarks, or points of interest you choose in a fictional setting to accomplish your plot goals.

2.  No one can dispute the location of items in a fictional setting as long as you are consistent in where things are.

3.  You can add any back story to the history, lore, or culture of your fictional setting without being wrong.

Fictional Setting Cons:

1.  You have to make up the location, history, culture, and anything else associated with your setting.  You can get ideas from real settings, but you have to be careful not to be too obvious in copying everything about a real location, or your readers will see through a simple name change and think you are being unimaginative.

  2.  You have to map out where everything is located in your fictional setting and be consistent in distance and timing throughout your story to make it believable.

            Before starting to write my ya novel, Island of Tory, I was perusing the internet trying to get ideas for the basic plot for my next book.  I hadn’t decided on a real or fictional setting, and I wasn’t even sure what I wanted to write about yet.  The one thing I did know was my story had to have elements of the paranormal in it.  Immediately, I thought of Ireland. 

            Ireland has always been, for me, synonymous with all things magical, supernatural, and mysterious.  The land and its people embrace their myths and legends as part of their history and culture like no other.  And because of this, Ireland is the one place on earth that seems to keep a precarious balance between reality and fantasy.

            In my internet searches, I began looking for remote Irish islands.  Just as Ireland evokes a sense of mystery for me, so too, do islands.  With being cut off from the mainland, island inhabitants evolve their own set of beliefs and lore, making their cultures unique from that of their motherlands.  My searches brought up a variety of Irish islands, all of which had their own distinctive folklore to boast of.  Upon reading the stories and traditions of Tory Island, I knew it was the perfect setting for my novel.

            The lore of Tory Island is uniquely rich, full of tales of fairies, wishes, curses, and ancient rituals.  As I read deeper into Tory’s folklore, I realized the hard part of developing my story was already done for me.  All I had to do was weave the different pieces of island lore into a single plot line, and after eleven months of twisting, turning, and adjusting, the puzzle was complete.

            No, I have never been to Tory Island, and no, I have never been to Ireland.  But, with the help of Google Earth, Facebook, and Shutterstock, I feel like I’ve gotten pretty close.  In writing Island of Tory, I spent untold hours researching the island and its history.  I studied island maps, questioned residents and tourists of Tory via Facebook, scrutinized pictures of the sites to the point of feeling like I had lived on Tory. 

            In writing, Island of Tory, I could have created an imaginary setting, but as Tory Island proves, sometimes truth is stranger than fiction.  Everything I needed for a mysterious island setting was already there.  Why reinvent the wheel when one is just waiting for you to roll with it?  And in using a real place in which to set my novel, along with real events and folklore to plot my story, I place the question in the reader’s head of where to draw the line between reality and fiction.  It’s this blurring of the lines between truth and perception that adds to the story’s air of mystery that brings the reader back for more.

Creating Imperfect Characters for the Perfect Story

            Characters are the heart and soul of a story.  Any book, no matter how good the plot, how interesting the setting, or how clever the twist, must have characters that are distinct, believable, appealing, and imperfect.  Yes, imperfect.  Readers need to relate to the characters in a book within the first few pages.  They need to be able to identify with the character.  And one way a writer can do this is to give a character flaws.

            We’re only human.  Right?  Well, the characters in a book should be too.  No one likes someone who is wonderful in every way, because none of us are.  And having a flawless character will turn off a reader quicker than they can turn a page.  We all have good and bad qualities, talents and limitations, strengths and weaknesses.  And we like to read about characters that are like us–flawed and human. 

            A well-known and well-liked character such as Harry Potter is a perfect example.  Harry is likeable not just because he is kind and friendly, but because he’s just a little messed-up.  Harry is an orphan, he is mistreated by his aunt and uncle, he hangs out with the geeks of Hogwarts, and he has a dark side that he constantly has to wrestle.  We like him because each one of us can see a tiny part of ourselves in him.  All of us feel alone or rejected at one time or another.  Every person feels neglected by friends or family on occasion.  Very few of us are popular and hang with the “In” crowd.  And we all have a not so nice side that we struggle to overcome.  We identify with Harry Potter, and that is why we love him.

            Love or hate the books, we can all identify with the characters from Twilight, as well.  Bella is an ordinary girl who wants to be extraordinary.  She is clumsy and insecure and sees herself as plain and unattractive.  Sound like any teenage girl you know?  But Edward, the handsome, dangerous, bad boy finds her irresistible.  Even Edward, the two hundred year old undead vampire, appeals to our human side.  He is seen as evil by most of the world, except by the one who loves him.  And he struggles with his carnal urges because he is inherently good.  Don’t we all?  And of course there is Jacob who must protect the one he cares about knowing he will never have a real chance with her.  He also struggles with his carnal urges and even sides with the enemy to protect the one he loves.  Stephanie Meyers, for all the flack she has taken about her books, has the human psyche figured out.

            And what about the characters of the Hunger Games?  Can’t we all relate to one or more of them?  First there’s Peeta?  He is kind and good, but not so athletic.  He is a great talker, but not so skilled with weapons.  You just can’t have it all.  Then there’s Gale.  Gale is the strong, hard working, good looking guy who has to sit back and let the girl he loves make all the decisions.  He’s not in the driver’s seat, and he knows it.  Sounds like marriage material to me.  And of course, there is Katniss, our heroine.  Katniss is your typical strong female character, but with a twist.  She, like Bella, is in the middle of a love triangle and must balance her feelings with her obligations to family and friends.  She is stuck in the middle of the Capitol’s plans for control, and no matter what she does, she is set-up to hurt someone she cares about.  Talk about a no win situation.  I’d say that Suzanne Collins has our human nature pegged, as well.

            In my young adult novel, Island of Tory, Arella Cline is the main character.  She struggles with your typical teenage angst.  She is an only child who has trouble relating to her parents, and when her parents are killed in an accident, she feels regret and loss.  Arella doesn’t like rules or authority and rebels against them every chance she gets.  When she is forced to attend a stringent academy, she breaks the rules and then quits.  But in the end, Arella must make a choice.  She must decide whether to side with good or evil, and she knows that no matter her choice, someone she cares about will get hurt.  She is caught between a rock and a hard place, in fact, between a wishing stone and a cursing stone.

            So a writer must keep in mind that readers like their characters flawed.  Readers want to rub shoulders with fellow narcissistic, insecure, rebel loners who redeem themselves in the end by putting others’ needs first.  That’s what makes them human to us.  They are a reflection of who we are, or at least, who we strive to be.

            Island of Tory is available at Amazon.com, Barnes and Noble online, and Joseph-Beth Booksellers online.  Autographed copies are available on this website.

 

Collaging: Finding Your Writing Muse

            I’m often asked where I get my ideas for writing. I wish I could say, “Off the top of my head,” but that’s not true at all. I’ll admit that I am creative, but I need a little inspiration to get the artistic juices flowing. Being a very visual person, I find my muse in pictures.

            I never considered my brainstorming methods to be collaging, until I looked to see what other writers did to come up with their story ideas. When I saw that many of them used a collection of pictures, maps, scraps of fabric, and key words or phrases gathered together in a visually appealing arrangement called collage, I suddenly realized I had been unwittingly using the same writing technique.

            There is no right or wrong way to collage. Talk to ten different writers who use collage to inspire their writing, and you will get ten variations on the “correct” method. But there are some basic components all effective collages have in common. So…here is the Geither recipe for a successful writing collage:

Canvas

            First, you need a base upon which to glue your collection of images. Poster board, tri-fold display boards, cork boards, shoeboxes, manila folders, or even spiral notebooks will work. There is no right or wrong choice. You need to decide which base works best for you.

            I prefer a tri-fold display board due to the fact that it is large, freestanding, and can be folded up and tucked under the bed when not in use. I have, however, also taken the manila folder route on occasion.

Images

            Next, start collecting images. Use magazines, greeting cards, photos, old maps, clipart, or images from the internet. Gather images of people, places, and things. Try to find a variety of pictures that represent setting, characters, and mood.

            When writing my novel, Island of Tory, I visited every Tory Island website I could find. I printed copies of maps, pictures of the points of interest, and photos of local people and animals. These images gave me a good visual feel for the island and its inhabitants.  I also printed pictures of Celtic art and symbols.  This helped me develop the mysterious and foreboding mood felt throughout the book. 

Arrange

            Finally, organize your images into categories–characters, setting, and plot. This is where a tri-fold display board comes in handy, because each section can be used to display pictures relating to one of the particular categories.

            Personally, I like to keep each category separate, but some writers like to mix it up. Again, the choice is yours. Just remember, whether you fasten your images with pushpins, staples, tape, or glue, your collage is not set in stone. Change it when you need to. Add, subtract, or start over as the need arises. Remember that your collage is a tool, not a ball and chain.

Utilize

            Look at your collage before, during, and after you write. Jot notes on it. Add comments and captions. Utilize your collage as a springboard, but never feel tied to it. The purpose of a collage is to stimulate and inspire creativity and help you focus on your story.

            Though I begin every writing project with a complete collage, the collage is rarely finished before my story is done. I constantly add new pictures and words as my story develops. I was still adding pictures to my Island of Tory collage even after I signed the publishing contract. And I even sent portions of the collage to my publisher to hand on to the illustrator, so I could make sure he had a good feel for the mood of my novel.

Muse It!

            With practice, collaging can help you develop, organize, and complete any writing project. Whether it’s a short story, essay, poem, or novel, a well developed collage can be just the muse you are looking for.

Collage used for CURSING STONE

Planner or Pantser? That is the Question

            So you have an idea for a novel, but you’re just not sure how to proceed.  Should you start with an outline plotting out the entire book or just start writing, making it up as you go along?  If you take a survey of writers, novice and expert alike, you will get a plethora of answers on how to successfully start and finish a book.  The correct way, however, will depend upon the type of writer you are and your personal preferences.

            If your personality dictates that you must know precisely where you are going and how you will get there, you are a planner by nature and will tend to lean toward outlining your book before you attempt your first paragraph.  Outlines are like roadmaps.  They can be as detailed or as sketchy as needed.  If you are a AAA trip-tick or Mapquest enthusiast, this is probably your preferred method of writing madness and you are most likely a planner.

            Some planners like to write chapter outlines where they list the main events of each chapter under the chapter title.  This gives them a good overview of their story’s sequence and allows them to get from point A to point B in a nice orderly succession.  Other planners like to put down the “skeleton” of their story first and then fill it in with the “meat” or details, taking a general to specific approach.  Still others work backward, knowing the ending before they begin.  They start at the conclusion and backtrack, detailing the events that lead up to the grand finale.

            Many agents and publishers require an outline of a novel before they will look at anything else.  And though the outline might be an excruciating chore, it does make writing the novel much easier.  Some writers, however, feel that once the outline is written, they are married to it.  Unless the outline is chiseled in stone, you can change it and your story however you see fit.  There is no outline commandment that says, “Thou shall not change your mind once thou typest The End.”

            But there is something to be said for those writers who fly by the seats of their pants and do it with finesse.  These are known as pantsers.  These masters of the imagination can spin a yarn as easily as your grandmother crochets an afghan–intricate, flawless, and off the cuff.  Even when they write themselves into a corner, they find a trapdoor and escape.  These writers enjoy the freedom and excitement of the unknown.  And though they may not know where they are going or how they are going to get there, they enjoy the ride.

            But do not fear if neither approach appeals to you, for there is any number of degrees between the two extremes that are productive.  Scores of writers practice varying combinations of the two methods with great success.  My personal preference is to have a basic beginning, middle, and end in mind, while letting my writing take me where it will.

            When planning out a novel, I am not one to take the time to fill-in a sheet full of Roman numerals and letters, but I do have a vague mental roadmap in mind before I begin to type.  I like to start with my protagonist, making him or her a reluctant hero with genuine flaws.  The plot of my story revolves around this character’s problem and how it is resolved. 

            Second, I add conflict.  Someone or something has to stand between the protagonist and his or her goal.  Without a villain or obstacle, there is no story.  The conflict can be man verses man, man verses nature, or man verses self.  Regardless of the type of conflict, there needs to be drama.  Without drama, a plot dies.  No one likes a story where everyone is content and happy from beginning to end.  But tell a story about someone facing a crisis, and you’ve got an audience.

            Third, I create my setting.  Though I am a fantasy writer, I do not design my story locations from scratch.  I like to research real places and time periods that fit my needs, and tweak them to fit my stories’ purposes.  For example, in my young adult fantasy novel, Island of Tory, I needed to set my story in a remote and mysterious place to suit the requirements of my plot.  I researched various Irish islands to find a real location that would lend itself to my story’s purpose and mood.  When I read about Tory’s history and legends, I knew I had the makings of the perfect setting for my book.

            Once I have the protagonist, conflict, and setting of my novel nailed down, I improvise and adlib the rest, adding characters and events like pavers in a road to the finish.  So if I had to define myself as one or the other, planner or pantser, I guess I’m a Mudblood.  My flavor of writing is a fusion of the two in varying degrees, depending on the story at hand.  And if a random survey of writers was taken, I doubt that most would fit neatly into one of the two categories. 

            So, planner or pantser?  That is the question.  I say…yes.

Writing a Killer Opening: The Rule of Seven

            You have to hook your reader.  We hear it all the time.  But how does a good writer get a reader interested enough to read past chapter one?  The average reader, if you are lucky, will give your book the time it takes to read five pages before deciding to read on, or move on.  So you’ve got to wow them in the first half of the first chapter, or they’ll be moving on to the next book on the shelf without a second thought.  From instant messaging to instant coffee, we live in an age of instant gratification.  Readers expect no less.  I use the rule of seven to hook my readersand keep them hanging on until the very end.

            Rule number one, write an opening line that surprises, shocks, excites, or scares the bejeezus out of your reader.  Begin with a bang.  Get your reader on the edge of a cliff and make them willing to crane their necks just a little more to see what is on the other side.  Some excellent examples from famous books include:

      It was a bright cold day in April, and the clocks were striking thirteen. – George Orwell, 1984

      He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. – Ernest Hemingway, The Old Man and the Sea

       There was a boy called Eustace Clarence Scrubb, and he almost deserved it. – C. S. Lewis, The Voyage of the Dawn Treader

        If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth. – J. D. Salinger, The Catcher in the Rye

        When the doorbell rings at three in the morning, it’s never good news. – Anthony   Horowitz, Stormbreaker

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

            Rule number two, create questions in the reader’s mind–questions that can only be answered by reading the rest of your book.  Intrigue your readers.  Dangle the proverbial carrot in front of their noses, but at the same time, give them enough information that they don’t feel totally lost.  A reader has to feel compelled to keep reading.  Make it worth their time.  A good writer is forthright with just the right amount of information.  Tell too much and there is no reason to read on.  Tell too little and the reader is discouraged.  It takes a delicate balance to walk this tightrope and not fall flat on your face.

            Rule number three, invent a protagonist that is interesting, unique, but at the same time allows the reader to relate to them.  Your main character needs to have depth and be flawed.  Real people are not perfect and neither are good characters.  Characters with distinctive speech patterns, personal quirks, or bad habits are believable and hold the reader’s interest.  Most of us can relate to the oddball or eccentric, the rebel or loner.  No one is really interested in a plastic Barbie or Ken.

            Rule number four, get the reader emotionally involved with your story right away.  Make your reader angry, or frightened, or excited, or tense, or curious within the first few paragraphs.  Put the reader on deck in the middle of a pirate ship battle, or on trial in front of an angry jury, or in the center of a great archeological discovery, or in the midst of a Nazi Jew hunt, or between the pages of a secret diary.  Make reading your novel an interactive experience that begins on page one.

            Rule number five, create tension or hint at a conflict.  No one wants to read about the guy that has it all, but everyone wants to read about the guy who lost it all.  Without conflict, there is no story, so give your reader a taste of the character’s anxiety right away.  Bait the hook with conflict, and once the reader bites, keep the tension on the line.

            Rule number six, give the reader a sense of time and place immediately.  No one likes feeling lost.  Setting is important, but clue the reader in with a little finesse.  Use time period language.  If your story takes place in the middle of the sixth century, the dialogue should sound very different than that of a story set in 1976.  Have your characters’ dress reflect the time period.  A Civil War soldier’s boots are going to look and feel different than those of a Texas rodeo cowboy.  Give your reader the information they crave without making it sound like you’re filling in a story elements map.

            Rule number seven, start your story at the moment your character’s life changes.  If you remember nothing else from The Rule of Seven, remember this:  your opening sentence should be describing the pivotal moment in your character’s story.  Do not talk about your character’s morning routine when you should be describing the food fight they started to avoid going to second period Biology.  No one wants to know about your character’s mundane drive to Pennsylvania if the real action starts the night they check into a haunted hotel.  Skip saddling the horses and cut to the chase.

            You may have a fantastic story to tell, but no one is going to read it if you don’t hook them in the first few pages.  If an editor says, “Ok, you’ve got two minutes, give me your best shot,” what part of your book would you give them?  If it is not your first few pages, the next story you will be writing will be of “the big one that got away.”

            Excerpt from Island of Tory by Regina M. Geither, March 2012:  I remember only fragments of the day my life was turned upside down and shaken into chaos.  With little more ceremony than a child flipping a snow globe, my world changed.

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