Ignoring the H8Rs. Tess Gerritsen

Tess Gerritsen left a successful practice as an internist to raise her children and concentrate on her writing. She gained nationwide acclaim for her first novel of medical suspense, the New York Times bestseller Harvest. She is also the author of the bestsellers Life Support, Bloodstream, Gravity, and The Surgeon. Tess lives with her family in Maine. (PHOTO CREDIT: Paul D'Innocenzo)

Ignoring the H8Rs


by Tess Gerritsen

Recently I came across the premise for a new reality TV show called "H8R," which, for those of us who are text-message neophytes, translates as: "Hater." Here's the description:


On this reality show, celebrities go head-to-head with regular people who don’t like them. They try to win their adversaries over and, in the process, reveal person behind the famous name. Mario Lopez hosts the program which includes two celebrities in each episode.


The haters are not told about the show’s actual premise when they’re recruited. Producers tell them a different type of documentary or show is being shot but extensive background checks are done to ensure the haters are not also stalkers. In some cases, the celebrities nominate their haters, who they know from the Internet or Twitter.


For people who aren't celebrities, it may come as a surprise that celebrities can, in fact, feel personally wounded by cruel remarks made by complete strangers. When Gwyneth Paltrow started amassing hordes of such haters, I wondered how she felt about it. I also wondered why anyone would bother hating a woman just because she's a blonde, beautiful, talented gal who likes to share lifestyle tips. It's the same thing I wondered about people who hate Martha Stewart with such gusto, investing a great deal of emotional energy attacking a woman they don't personally know. When I thumb through her LIVING magazine to gawk at her impossibly elaborate craft projects, I don't feel jealousy or disdain. What I feel is resignation, because I know I'd probably end up hot-glueing my own head to the ceiling fan. I'll never be as capable as Martha Stewart, but that's okay with me.


You don't have to read the National Enquirer to know that the most-envied celebrities are often the public's favorite targets of vilification. It's the people we want to be or look like, the people who have what we want to have, that catch the brunt of public hatred. Celebrities aren't really human, so how could they possibly have human feelings? They're rich, they're beautiful, they're successful, so why should they care if complete strangers spew hateful things about them?


Some people think it's fun and amusing and harmless to hate the Marthas and Gwyneths and Brangelinas, and to express that hatred online so the world can share our bile. But celebrity is only a matter of degree. Just about anyone can be considered a public person these days. Restaurant chefs. Athletes. Policemen.


And writers.


A few weeks ago, novelist JA Konrath posted a blog entry called "Not Caring," about how important it is for writers to develop thick skins.


One of the greatest skills you can acquire as an author is a thick skin.


Once you unleash a story onto the world, it no longer belongs to you. When it was in your head, and on your computer during the writing/rewriting process, it was a personal, private thing. But the moment your words go out into the world, they are subject to the opinion of strangers. What was once personal is now public.


Do yourself a huge favor, and don't listen to the public.


This goes for more than your literary endeavors. If you blog, or speak in public, or tweet on Twitter, you are a Public Figure.


That means some people aren't going to like you.


And you shouldn't care.


You hear this very wise advice from non-writers as well. That we writers shouldn't give a damn about reviews. That writers should stop whining and pull on their "big-girl panties." That being published means you have no right to be sensitive to whatever anyone, anywhere, says about you. But that advice isn't always easy to take, and I know many authors who are still personally wounded by a bad review or snarky comments on Amazon. One very talented debut novelist, a man who's hitting bestseller lists around the world, told me that the hardest thing about being published was learning to take the blows. He knew he was thin-skinned, and he tried to prepare himself for public criticism, yet he was taken aback by how much it hurt.


"Crybaby!" I can hear the public sneering. "Why don't you man up and grow a pair?"


On a readers' forum, I came across comments by two teachers who smugly observed that, unlike crybaby writers, when teachers get performance reviews, they're mature enough to deal with the negative ones. They said that writers are a privileged and lucky group (whose average income, by the way, is less than $10,000) so no one should sympathize with them. Writers should stop whining and be as tough as everyone else whose work gets reviewed by superiors. For crying out loud, writers should learn to be as tough as teachers.

Then, a few months later, a tragic thing happened. In a new policy introduced by the Los Angeles Times, L.A. public school teachers' performance ratings were published in the newspaper. A highly dedicated teacher, despondent over his merely average rating, committed suicide.


I'm wondering if it suddenly became clear to those teachers that public criticism, public exposure, feels like a different thing entirely than does a private performance review. When your boss tells you you need to shape up, that can sting. But when that performance review is online and in the newspapers for your neighbors and colleagues to see and talk about, that's a level of embarrassment that not everyone can deal with.


Not surprisingly, many teachers were upset about the dead teacher's public shaming and suicide. Just as they're upset when they're called lousy teachers by students on Facebook.


Yet that's what writers routinely put up with. It comes with the job -- a job that pays the average writer about as much as a part-time dishwasher -- and we have to learn to deal with it.


But it's not easy.  First published at Murderati

Read More

NYT Bestselling author Karen White, The Queen of Setting as Character

After playing hooky one day in the seventh grade to read Gone With the Wind, Karen White knew she wanted to be a writer—or become Scarlett O'Hara. In spite of these aspirations, Karen pursued a degree in business and graduated cum laude with a BS in Management from Tulane University. Ten years later, after leaving the business world, she fulfilled her dream of becoming a writer and wrote her first book. In the Shadow of the Moon was published in August, 2000. This book was nominated for the prestigious RITA award in 2001 in two separate categories. Her books have since been nominated for numerous national contests including two more RITAs, the Georgia Author of the Year Award and has twice won the National Readers’ Choice Award for Learning to Breathe and On Folly Beach.

Karen currently writes what she refers to as ‘grit lit’—southern women’s fiction—and has recently expanded her horizons into writing a mystery series set in Charleston. Her fourteenth novel, The Beach Trees, released in May, 2011, debuting on the New York Times bestseller list at number 14.

Karen hails from a long line of Southerners but spent most of her growing up years in London, England and is a graduate of the American School in London. She currently lives near Atlanta, Georgia with her husband and two teenage children, and a spoiled Havanese dog (who appears in several of her books), Quincy. When not writing, she spends her time reading, scrapbooking, playing piano, and avoiding cooking. Her latest book, The Strangers on Montagu Street, released November 1st, 2011.

Your last book released at #14 on the New York Times Bestseller list. Tell us about it:

The book, The Beach TreesS, is a Southern Women’s Fiction novel set in pre-Camille and post-Katrina Biloxi, Mississippi and New Orleans, Louisiana. It’s got a decades-long mystery, family secrets, and a bit of romance, but mostly it’s about surviving storms---both the physical ones and the emotional ones, too.

What is your new release about?

My latest book, The Strangers on Montagu Street, (out November 1st) is the much-anticipated third book in my Charleston-based Tradd Street series. This series is what I call my “National Treasure meets The Sixth Sense meets Castle.” With a Southern twist. The protagonist is a 39-year old uptight Realtor, Melanie Middleton, who sees dead people. She teams up with historical true-crime writer Jack Trenholm to solve old mysteries centered on historic houses in Charleston. In STRANGERS, the house involved is a creepy dollhouse—and its not-so-nice inhabitants. Although each book has its own mystery that gets solved by the end of the book, the relationships between the characters—particularly Melanie and Jack—evolve and change throughout the series.

How did you come up with this story? Was there a specific 'what if' moment?

I adore Charleston—which is why I’ve set this series there—so I visit often. On a trip down King Street, I happened to see an old dollhouse in a store window and voila! I had the basis for the story.

Did anything strange or funny happen while researching or writing your book?

I originally set this series in New Orleans and started writing the first book in mid-summer 2005. And then Katrina came in August. I knew there was no room for something like Katrina in this story—although I was certain one day I would write a post-Katrina book set in New Orleans. I had to come up with another great Southern city with fabulous architecture, lots of history, and plenty of ghosts.

Do you consider yourself a visual writer? If so, what visuals do you use?

I’m definitely a visual writer—which means I see each scene as I write it like it’s a movie playing in my mind. I spend a lot of time “writing” with my eyes closed—which leads my husband to think I don’t work very hard.

Novelists sometimes dig themselves into a hole over implausible plots, flat characters or a host of other problems. How did you avoid that?

I just push forward. The solution will eventually come to me. That’s the beauty of word processors—it’s so easy to go back and change things!

Where do you write: In a cave, a coffeehouse, or a cozy attic nook?

I’m a stay-at-home mom so I’ve got lots to do at home so I write at home. I have a private study, but I use that primarily for the “business” side of writing—emails, Facebook, fan mail, bills, scheduling, etc. When the weather is nice, I write out on my beautiful screen porch that overlooks about an acre of pasture and beyond that a farm. But most of my writing is up in my sitting room—where I have tons of bookshelves, a fireplace (when it’s cold), big windows, a fridge for my Diet Dr. Pepper, and a coffee bar. Oh, and a chair that’s big enough for me and my dog Quincy who is glued to my side at all times.

What does a typical day look like for you?

I have no typical day. I write every spare moment—which means that when I have a doctor’s appointment, I bring my laptop so I can work while I wait.

You're a master (I think you deserve the title of Queen) at setting as a character. What or who influenced you to develop this expertise?

Again, I’m a very visual writer—and I think this started with me being a very visual reader. My favorite books were those books where the setting were real to me—I could experience all five senses while reading. I suppose that’s what I try to emulate in my own writing.

Some authors report writing 5-10 thousand words a day. Do scenes flow freely from your veins or do you have to tweeze each word out?

Each day is different! Once I hit the midway point, it goes faster. But some days I’m lucky to write a single page!

What’s the best writing advice you’ve heard?

JUST DO IT! (borrowed from Nike but it works!)

Do you have any parting words of advice?

See answer to above question. No book ever got written just talking about it or by listening to other people as to why you can’t. Writing a book is about butt time in a chair in front of whatever writing instrument you use. Nothing else works, including excuses. 

The Strangers on Montagu Street 


Psychic realtor Melanie Middleton returns-only to be greeted by a house full of lost souls.

Psychic realtor Melanie Middleton is still restoring her Charleston house and doesn't expect to have a new houseguest, a teen girl named Nola.

But the girl didn't come alone, and the spirits that accompanied Nola don't seem willing to leave...

Read More

Change We DO Believe In

I use my blog, “Reading, Writing, and the Stuff In-Between,” to interview Inspirational novelists and introduce their latest releases to my readers. As most interviewing bloggers do, I tend to use a set of questions that doesn’t vary significantly from author to author. The answers are what vary, since they reflect so many different viewpoints and experiences.

Still, each month I have a particular question just for that month’s authors. Sometimes I ask something very specific about their craft, sometimes about their joys or frustrations, sometimes about their readers. Not too long ago, I asked my featured novelists about the Inspirational publishing market. “What, if anything,” I asked, “would you change about the Inspirational fiction industry?” Maybe you’ll identify with some of their answers.

What would you change about the Inspirational Fiction Industry?

I think most novelists would just as soon write, write, write, and leave the promotional efforts to someone more talented in that department. Ronie Kendig, author of Digitalis (Barbour), says that, since the Inspirational market “ . . . is a dynamic, constantly changing industry, I don’t know that I’d change anything. Or perhaps I’d lift the burden of marketing from the author’s shoulders and return it to the marketing department. To me, this is like asking a dog owner to be able to perform surgery on his/her pet simply because it’s their pet.” I so agree. I’ve definitely seen my “pets” thrive more from the able efforts of my publishing houses’ marketing efforts than from anything I’ve been able to accomplish.

Part of the equation for the success of our novels includes shelf placement in bookstores. Mary Connealy, author of Sharpshooter in Petticoats (Barbour), says, “I love the Inspirational fiction industry. I think it’s the most exciting genre in fiction today, expanding in all directions, trying new things, reaching new audiences.” Still, she says, “I think my books are for everybody. I wish somehow I could get them in the general romance section and the Inspirational fiction section.

"That’s tricky.” Maureen Lang, author of Springtime of the Spirit (Tyndale), agrees. “I wish bookstores would place our books in the fiction section in their bookstores. If they’d like to set it apart as Inspirational fiction, that’s okay—I don’t want a reader to be surprised by Christian content, either. But so often Inspirational fiction is set far away from the rest of fiction, barely marked or under Religious sections without a clue to a browser that our books are even available. It’s so sad when I receive a note from a reader that starts out saying, ‘I had no idea there was such a thing as Inspirational fiction!’”

The higher-selling novelists in the Inspirational industry—those who have actually experienced placement on the famed bestseller lists—can have an unique take on how our books are presented to the buying public. New York Times bestselling novelist, Terri Blackstock, author of Vicious Cycle (Zondervan), says, “I wish there were more Christian stores that reported to the New York Times so that all of our fiction could compete with the best-selling secular books. In the past, none of our Christian book store sales were counted. To make the NYT list, you had to have stellar sales in the secular stores. But in the last few months, a couple of the Christian chains announced that they are going to be reporting their sales. That’s a major breakthrough, and it’s because the New York Times recognizes that Christian books are selling very well.”

That’s good news for all of us.

Still other authors focused their answers to my question on the content of the books themselves, and the restrictions novelists may experience in subject matter. Janelle Mowery, author of When All My Dreams Come True (Harvest House), says, “I’d like [Inspirational fiction] to be perceived as good entertainment rather than another means to preach. I’ve heard people say they avoid Inspirational fiction for that very reason.”

Gail Gaymer Martin, author of A Dad of His Own (Love Inspired), adds, “Although some publishers are becoming less conservative, I find that sometimes the stories I want to tell are bound by restrictions that don’t reflect real life. Christians are sinful and make mistakes. I want to write real and deal with characters who struggle with all of the life situations that so many of us face day to day. We can’t do this if we are restricted by too many rules.” In the short time I’ve been publishing, I can say I’ve experienced a bit more of what Martin craves. Just today one of my readers thanked me for using two divorced characters as my hero and heroine. I have my publisher to thank for allowing me to “get real” about an unfortunate but true sector of the reading public.

I ask all of my interviewees to imagine their novels in film version. When answering my question about the Inspirational novel industry Mary Ellis, author of Abigail’s New Hope (Harvest House), said, “I would encourage filmmakers to make more wholesome, family-oriented movies. Other than animated films, there are few good movies that aren’t loaded with violence, sex, and/or foul language.” Amen to that, Mary, and we Inspirational novelists could point the filmmakers to plenty of good material to choose from.

As Mary Connealy said, the Inspirational publishing industry is expanding and trying new ways to reach readers. Since every player in this particular market has the same ultimate goal, I like to think some of the above author suggestions might be given consideration. After all, if any wing of the publishing industry has a prayer of succeeding, ours does.

Unforgettable

Rachel Stanhope tries to see the good in everyone.

But Josh Reegan tests even her good graces when they meet outside her Arlington, Virginia, dance studio in 1951. He's attractive, yet his cynicism and cockiness are hard to tolerate.

A journalist and former World War II Air Force pilot, Josh considers ballroom dancing a frivolous waste of time. Although Rachel's confident nature is a refreshing challenge, he wouldn't tangle with her if his newspaper hadn't assigned him to cover her studio's competition in New York City.

Between the melodrama of ballroom antics and the real drama of political corruption, Rachel and Josh have their hands full. The last thing either of them expects is mutual need and support. But once they stop dancing around the truth, the results are unforgettable.

Read More

9 Secrets to Giving a Great Interview

Cindy Woodsmall is a New York Times best-selling author whose connection with the Amish has been featured on ABC Nightline. Her ability to authentically capture the heart of her characters comes from her real-life connections with Plain Mennonite and Old Order Amish families.

Cindy is the mother of three sons and two daughters-in-law, and she and her husband reside in Georgia. Visit her Web site.

Interview Tips I Wish I’d Known Beforehand

I love writing! I love long days and nights in my home office with the window open and research books all around me.

I’m an introvert. I’ve heard that most fiction writers are. Being introverted is not the same as being shy, although shy people are introverted. An introvert draws strength from quietness and solitude. An extrovert draws strength from get-togethers and other people-oriented events.

The first time I realized how much of an introvert I am, I was seventeen and on a first date. I was young and athletic, and had taken the time to straighten my lengthy hair, do my nails and make-up, and had even bought an especially nice-looking outfit. Our plan was to meet up with a group of friends at someone’s home and have pizza. When my date asked if we could go to a drive-thru for dinner instead, I felt RELIEF wash over me. Right then I understood something about myself; I was a true introvert.

Until then I kept thinking that I avoided going out because I wasn’t “pulled together” enough. But it became clear that even when at my best, I preferred quiet seclusion. After going to the drive-thru, we went for a long, quiet stroll in a nearby park and tossed bread crumbs to the ducks. The only way I would have enjoyed that night any better was if I’d been alone with a pen and journal. (Too long ago for laptops to have been a part of the scene, man.)

So writing sounds like a good career choice for me, right?

Well… so far this year I’ve done segments for ABC’s Nightline and Fox 5’s Good Day Atlanta, plus multiple interviews for newspapers. I’ve done numerous live radio and television interviews. I spent about eight hours with a journalist from the Wall Street Journal and four hours in my home with a journalist from the Atlanta Journal-Constitution. Live interviews are especially difficult because you often don’t know what the person is going to ask, and if your mind goes blank, you still have to say something.

At this point you should feel sorry for my husband, who loves my quiet temperament, especially during football season. If I can’t sleep because of an upcoming interview, or I’m walking around mumbling to myself because I’m displeased with how an interview went, he’s the one who has to deal with my angst and try to help me through it.

Whether you’re introverted or extroverted, interviews are part of being an author. I’ve been doing them for the last thirty-six months, two weeks, and eight days. I’ve had some truly great interviews and some really embarrassing ones. Here’s the good news: I survived. And along the way I’ve learned things that are equally valuable to both personalities. These tips will help the introverted prepare for things that are as tough for them as a month in solitary confinement would be for an extravert.

There are many things that can cause an interview to go badly, but here are some tips that will help you be as prepared as possible. I don’t get it right nearly as often as I’d like, but following these suggestions helps me focus on my goal.

1.) Write out the most likely questions to be asked and write out several answers—keeping in mind that the response needs to be less than thirty seconds. Practice giving an answer with a timer in hand or your eye on the wall clock’s second hand. If your answer is too long, rework it.

2.) Remember that the transition from the interviewer’s question to your answer is the most important part to get right. Your first sentence that follows the interviewer’s question is your topic sentence for that question. Remember topic sentences from your days in high school and college? You need a topic sentence, even for a thirty-second answer.

3.) Practice the questions and answers before every interview. A live radio show does not allow time for searching your thoughts. Know the answers, but then lay your notes aside and talk as if you’re on a live stage. The idea is to give responses in a fresh and energetic manner. So study like it’s a test, and then trust that you’ll know enough to sound spontaneous. Practicing for radio interviews will not only help to prepare you for television interviews, it makes your voice sound real and personal as well as professional.

4.) Write out the questions you hope an interviewer never asks. Think of several questions you absolutely do not want to be asked, and plan for how you’ll respond if the interviewer asks those questions. Practice answering the unwanted questions in a succinct manner and with the most positive view possible.

5.) Use nouns instead of pronouns. As you do interviews, you’ll discover all sorts of issues about your speech patterns that you weren’t aware of before. For example, I hadn’t realized how much I overused pronouns. I would say “the Amish” at the start of the interview and then use the word “they.” That can be confusing for those who come in during the middle of an interview or when I’ve also spoken about the non-Amish. Don’t be afraid of using a noun too much.

Most interviews are brief and listeners don’t want to feel lost during what should be a clear and concise talk. Using nouns as much as possible is especially important during an interview that is being taped. Most producers cut out certain parts. If they find a great line they’d like to keep but you used a pronoun instead of a noun, they’ll have to either toss that segment or hope the audience can follow.

6.) Practice good diction all the time. I used to have great pronunciation of words. I even won recognition for it once. But that was thirty-something years ago, before the ways of my beloved new home in the Deep South took over. Now I often forget to put the g on the end of an –ing word. I’m not sure when that little colloquialism became my friend, but after I spoke at a women’s event, one lady approached me and brought that quirk to my attention. I sincerely appreciated her telling me that. Now I put effort into adding that elusive g and listening to my speech patterns.

7.) Practice agreeing with statements you don’t agree with. During one of my first interviews, moments before going live on a television broadcast, an interviewer heard something about me from her producer that piqued her interest. The issue was not related to my writing at all, but at the top of the show she tossed out a statement, expecting me to agree with her. I didn’t. I could either say I agreed with her and go against what I believed, or I could disagree with her on air, which would probably embarrass her and would certainly start the interview off on the wrong foot.

Unsure of what to do, I shared that I’d seen wonderful successes come out of the public school system. She felt affronted, and needless to say, it wasn’t my best interview. I don’t know that we ever talked about my books. After the interview, I asked my publicist what would have been a better way to respond. She told me to fashion a sentence that would start out with affirmation for the interviewer and end with an “on the other hand” statement. In this case, I could have said, “Yes, homeschooling has merit, and I enjoyed years of it with my own children, but I’m thankful we have the right in this country to choose what’s best for our children, because many times public school is the best route to go.”

8.) Practice getting an interview back on track. Sometimes an interviewer, like the one above, will start off on a topic unrelated to your book, expecting to bring it back around later, but that doesn’t happen. Think about phrases you can use that will help accomplish what you’re there for: to talk about your book. Using the example above, after I made my statement about homeschooling versus public school, I could have added something like this: “You know, it’s interesting that we’re talking about schooling, because the Old Order Amish have school in a one-room schoolhouse with grades one through eight, and the children begin school not knowing the English language.” With that transitional phrase, I would’ve agreed with the interviewer, shared my personal sentiments, and moved on to talking about what I came to the interview to talk about: my book.

9.) Use key phrases to turn a conversation back around. “You know, it’s interesting that you mentioned (use a word or phrase the interviewer just used), because in my (name of the novel being promoted) there is a character who is struggling to…” Or, “I love the concept of (use a word or phrase the interviewer just used), because in (name of the novel being promoted) there is a real sense of…” Or, “That reminds me of…” Or, “That’s a great point. It’s similar to (mention a character or plot thread in your book)...”

The above devices may sound too self-promotional, but I believe the audience and the interviewer will appreciate your getting to the real topic: your book. Just don’t be too quick to use them. If the interviewer is at the top of the show and wants to mention the weather, give him or her a chance to bring the topic back around to your book before you step in with a “key phrase.” If the interviewer doesn’t bring it back around within the first few minutes, be prepared to jump in. This will not only ensure that the interview goes well, it will also increase your chances of being added to their list of authors to invite back on their show. Sorry, introverts, but our aim is to do as many interviews as possible and to end with the interviewer saying, “Let’s do this again for your next book!”

Keep in mind, interviewers want their shows to go well and be entertaining to their audiences. So ask them beforehand what types of things they would like to know (request a list of questions if they have them). Ask about their demographics (if you don’t already know) so you can structure your interview to their audience. I haven’t had much success with a request for a list of specific questions. I think that’s due in part to the spot interviewers are put in. They don’t have much prep time and they want to keep things fresh as opposed to sounding well rehearsed and staged.

As much as interviewers may want a few minutes to prepare, they usually don’t get that luxury. Many don’t even have the chance to read your book. As the person with the most at stake in this interview, you need to help them be prepared. I once heard that I should prepare a fact sheet to send the interviewer beforehand, listing facts about my books and me. But by the time the interviewer thinks about needing one, it’s often too late. I’ve found a better answer is to have a well-organized, easily maneuverable Web site. You may even want to dedicate a page of your site specifically for interviewers. List the books you’ve published, any awards earned, personal information about yourself that you’re willing to share with the audience, a brief synopsis of your current book, and a list of sample questions.

With practice using tools that connect with your audience, it won’t matter whether you’re a nervous introvert who’s uncomfortable in a crowd or a nervous extravert who loves crowds but feels unsure of yourself in an interview.

Authors usually spend six months to a year writing a novel that will connect with readers, but that connection often begins with an interview that lets people know there’s a new book on the market. Being prepared for an interview is as important as writing the book.

If you have an interview that goes badly, console yourself by watching televised interviews of politicians—local or national. Look for their bobbles, losing a train of thought, and poor word choices. Those things happen to even brilliant people, so of course it’s going to happen to regular folks like us. Knowing you’re in good company is guaranteed to help put your own interviews in the right perspective.


The Sound of Sleigh Bells

Loneliness echoes inside Beth Hertzler from the life she once had. Children’s whispers and laughter call to her from a life she only dreams of. A gifted carver holds the answer to both within his hands—but can Beth step beyond yesterday in order to embrace tomorrow?

The Sound of Sleigh Bells is a heartwarming Christmas novella where lack and abundance inside an Amish community has power for good when it’s tucked inside love.

Romantic Times 4 ½ stars for The Sound of Sleigh Bells ~ This is a wonderfully written, transformative story of two Amish families at Christmastime. It will bring sleigh-riding memories to life as readers vicariously join in this jolly and exciting holiday tradition.

To read a review of Sleigh Bells, click here.

Read More

Guest Blogger ~ Cindy Woodsmall

New York Times Bestselling author Cindy Woodsmall is an author, wife, and mother. Her real-life connections with Plain Mennonite and Old Order Amish families enrich her novels with authenticity. Cindy lives in Georgia with her husband of thirty years and the youngest of their sons.

Before. Behind. Between. Begin.
Finding the Four B's of Your Character

Before your character had control of his or her own life, who controlled it?

When beginning a writing project, it can feel easy to imagine a handsome or heartwarming character with an endearing personality and a couple of flaws that have the potential to get him into trouble. But is that enough insight to enable you, as the author, to know who the character really is?

The problem with not knowing your character well enough is that you won't know what he or she would say or do in certain situations. You may know what you would say or do or what your imagination could conjure up for your character to say or do, but to understand how each one would react, you must truly know who he is. When understanding any subject, it's best to start at the beginning - at the foundation - and build from there.

The lives of the characters should begin long before they were born. Who were their parents? What kind of people were they? What was the relationship like for mom and dad before they became "mom and dad?"

When your character was in his growing-up years, did Mom love to laugh, or was she void of humor? Did Dad love coming home, or did he drag himself in near or past bedtime? Was Mom fulfilled within, or did she pine her days away, remaining loyal to the family, but never psychologically embracing them or herself?

The most significant elements of parenting continue to make a difference in the heart, mind, and soul of an adult child. A drug-addicted, alcoholic or absent parent certainly leaves a mark on his or her children. But are these easily-labeled issues the only ones with power enough to show up on the written page?

Doesn't a mother or father who loves her or his life leave a totally different and equally powerful impression on a child? What about the dutiful and kind parent who is miserable?

The subtleties of your character's beginning are harder to show on the page, but if you know those nuances, such invaluable information will contribute to how your character thinks and what he or she will do or not do. How this plays out in the action and point-of-view of your characters may be as gentle as having the character show restrained disrespect for anyone he sees across a crowded room who is drinking too much or discreetly popping a pill. Such nuances will calibrate your character's response in a hundred possible scenarios that can arise in a novel.

It all matters.

How I felt about my parents' choices and decisions when I was growing up still dictates my choices and decisions today - and I have two grown and married sons. If I liked something my parents did, I did and do that for my own children. If I disagreed or hated something they did, I do the opposite for my children. But when I do things differently, what effect does it have on my children? Do they agree or disagree with my decisions? Is it harmful or helpful?

For example, when I was a child, all food put on my plate had to be eaten before I could leave the table. I gagged my way through many a meal, but I also learned to eat foods I didn't like. As a result of my own experiences, when my children hated something, I'd give them a choice of other food items with similar nutritional value. I remember going through a list of acceptable substitutes for each child at mealtime. One son hated cooked carrots, broccoli, and English peas, but he would eat raw carrots and broccoli. He's twenty-five now and still won't touch English peas. Was my method helpful or did I teach him to always look for the easy way out? Did I give the subtle message that women are pushovers and that if you don't like what their hard work has provided, they'll find another option or solution for you? Hmmm.

Knowing about your character's parents and the cause-and-effect of your characters' beginnings will determine many of his actions and responses when he is an adult.Behind every human's life are thousands of years of DNA that have been passed down. Thanks to that DNA, what natural gifts and struggles do your characters have?

In many ways, "behind" has as much influence over your character's behavior as the "before." Many people struggle to control their desires, urges, and personalities. Think about people with a Type-A personality. His patience is taxed before anyone around him has done anything wrong. A goldfish gets on his nerves, and its fish tank probably needs cleaning, organizing, and restructuring ASAP. Type-A personalities are often labeled as "difficult" or just plain "jerks." But much concerning who they are - athletic prowess, artistic ability, attention issues, good or bad habits, etc. - was all passed on to them from conception.

You don't need to study your character's genealogy, but you do need to be aware of what traits were passed down and give some measure of weight when developing your character.

Some of the sweetest people we know were born with a disposition that is relaxed and warm and easy to get along with. I remember wondering as a preteen if those people were less sinful than others who were, by nature, challenging and difficult. Was their sweetness a lack of sin? How could that be? They may have carried more special graces, but didn't the sin nature itself claw at their hearts and minds too? We know it does, so how does that "sin" show itself on paper?

When characters are built from "before" and "behind," making each one's strengths and weaknesses flow onto the page will come naturally - whether they are gentle and truly sweet or easily act like a jerk.

Between conception and the start of your novel, what else molded your character? One of the interesting things about being a human is that the same exact environment could easily be created for several human beings, yet each would have a unique perspective because of the thing we call "personality." If you have a set of identical twins, each one will react differently to his or her environment. A parade or a clown may excite one toddler and terrify the other.

This is where the author can choose more of who the character is. After plotting out the "before" and "behind," you're ready to choose the personality of your characters. Does she accept the pop culture-type thinking of her day, fight against it, or quietly disagree with it? If he lost a sibling in a war, did it make him want to protest wars or join the military? After the "before" and the "behind," who did your character become in the "between?"

Begin your novel armed with the full knowledge of who your characters are - the before, the behind, and the between. Then ask yourself, what would this person do - how would he or she react - when caught in the emotional or physical destruction in which your plotting places them? Once you've completed these steps, you won't have to know the answer to how they would react when placed in different circumstances. The character - who that person is - will dictate what he or she will do in any given situation. Each character will be true to himself or herself, because you know who they are and from where they have come.

Once your research is complete, the characterization throughout your work won't be about you, the author, deciding what the character should or shouldn't say or do; it will be about the author taking accurate notes as the characters speak for themselves.

I'd like to leave you with one last "b" word, but it's not for your characters, it's for you...

Believe

I could attempt to explain the power of that one vital element, but I think all of us know of its awesome, life-changing strength first-hand. Thanks for inviting me to express some of my thoughts and ideas...may you find who your character truly is.

To win a copy of Hope of Refuge, leave a comment for Cindy.

Hope of Refuge

Can an Amish man help Cara find safety in a strange community with complex, unspoken ties to her family history?

Raised in foster care and now a widowed single parent, New Yorker Cara Moore struggles against poverty, fear, and a relentless stalker. When a trail of memories leads Cara and her daughter, Lori, away from the city toward an Amish community, she follows every lead, eager for answers to mysteries from her past and a fresh start. She quickly discovers that Dry Lake, Pennsylvania, is no place for an outsider. But one Amish man, Ephraim Mast, dares to fulfill the command he believes that he received from God—"Be me to her"—even though doing so threatens his way of life.

Fearful of the strange Englischer woman causing turmoil for her family, Ephraim's sister Deborah tries to focus on the marriage and home she longs to begin with Mahlon Stoltzfus. Her dreams are threatened when her fiancé begins behaving oddly, withdrawing, causing concern for both Deborah and Mahlon's mother, Ada. Will Ada's vision for transforming a run-down house unite them all in a common purpose—or push Mahlon away forever?

Torn between the requirements of his community and trying to do what he believes is right, Ephraim risks losing everything, including a developing friendship with the guarded single mother. And only he knows that log-held secrets about her family history ripple beneath the surface of Dry Lake—secrets with the power to tear apart the home Cara is desperately trying to create.

Read More