Watch Out for Exclamation Points!

Filmmakers have certain advantages over novel writers. They get to use musical scores to help build the tension. We’ve seen it dozens of times. The unsuspecting protagonist goes into the seemingly deserted mansion, unaware that the villain is lurking inside. As he or she gets closer, the music builds to a crescendo. “Dum dum-ta-dum–BOOM.” The bad guy leaps out of nowhere, confronting the protagonist, who either has to fight or run for dear life.

Unfortunately, novel writers don’t have the luxury of having background music. We have to come up with alternative ways to build the tension. This may create the temptation to use exclamation points. After all, putting a plain old period after, he leaped out of the closet at Joe, looks kind of boring on the printed page. Therefore, he leaped out of the closet at Joe!!, would look a whole lot better. Right?

Well, not necessarily.

What an exclamation point actually means

An exclamation point in the narrative means you’re shouting at your readers, which they may find annoying. A better way to build the tension would be to use more effective verbs and modifiers.

For example, instead of saying, he heard the footsteps and waited until the time was right. Then he leaped out of the closet at of Joe, try using, He heard Joe’s footsteps coming closer. He held his breath, not wanting to give himself away. The footsteps grew louder. He could make out the dark shadow of a human form as it entered the room. He stood by, unable to move. The footsteps thumped louder as they came closer. Beads of sweat popped out across his forehead. It was time. He leaped out of the closet at Joe.

By using effective verbs and modifiers in your narrative to build the tension exclamation points becomes unnecessary. Bottom line. Never use exclamation points in the narrative.

But what about the dialog?

An exclamation point in the dialog indicates that someone is shouting. People shout when they are excited, unexpectedly surprised, under stress, or angry. Therefore, exclamation points should be rarely used in dialog, and only when absolutely necessary.

For example, someone might shout, Look out! if they see someone else is about to step into the street, unaware that a bus is barreling toward them. This sets the stage for a number of outcomes. The first character pulls the second character back onto the sidewalk in the nick of time. The person stepping into the street sees the bus coming and takes evasive action. The second character looks back and replies, “What?” Or the second character ignores the warning and ends up being hit by the bus. Whatever option you take, no further exclamation points are necessary. The crisis has passed. Any further exclamation points would be redundant

I think of exclamation points as hot chili peppers. A little bit goes a long way.

Gayle Martin

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You Only Have Ten Seconds

So you’d better make them count
© Can Stock Photo/ stillfx

You have about ten seconds to capture a reader’s interest. Ten seconds. So my advice is to make them count. People have short attention spans, and social media is making them even shorter. This means you, the novel writer, had better grab their attention fast. If you don’t hook them within those first few seconds, they are far more likely to toss your book aside.

I think of my opening sentences as, “Lights, camera, action!” I always start with an action narrative. Nothing overly dramatic, such as explosions going off, but with something interesting enough to intrigue the reader so he or she will want to learn more. So, how do I do this? I write an opening sentence that creates tension, and I’ll use the first sentences from some of my Marina Martindale novels as examples.

Strong opening sentences

Rosemary McGee had the next traffic light perfectly timed until a car from the other lane suddenly cut in front of her minivan.

Well, I’m sure that got your attention. What happened next? Did she have a accident? You’ll have to read more to find out.

My openings aren’t always this dramatic, but even if the opening subject matter is more mundane, I can still create tension in my first line.

Emily St. Claire reached for another tissue to dab the sweat off her forehead and grab her water bottle, but the once-cold liquid had turned lukewarm.

Well, that certainly feels uncomfortable. So where is Emily? And why is it so hot? Again, you have to keep reading to find out more.

Opening lines and your characters

No doubt you’ve noticed I’ve included a character’s name in these opening lines, and you certainly want to start introducing your characters as soon as possible. However, you don’t necessarily have to include them in the opening sentences, nor does the opening line have to be about a lead character. Rosemary was actually a supporting character. My lead character is introduced a few sentences later when Rosemary asks her if she’s okay. Emily, on the other hand, is the lead character. My stories are all different, so my openings are different as well.

A descriptive opening line

Some authors like to begin their stories with a descriptive narrative of where the story takes place. However, you still need to create some tension. An opening paragraph that’s nothing more than a flowery, detailed description of the scenery without any action or tension is less likely to capture the reader’s attention. So unless something really interesting happens within the next paragraph or two there’s a good chance the reader will set the book aside. My advice is to end that fluffy narrative with something to suggest things aren’t quite as peachy as they appear. Here is a descriptive opening from another Marina Martindale novel.

The moonlight reflected off the snow-covered mountains, creating a dreamy, picturesque landscape, which could easily hide a deadly hazard.

Yikes! So what kind of hazard could be hiding there? Again, you have to read more.

Remember, when writing fiction, the conflict drives the plot, so you want to create as much tension as you can. The sooner you start creating the tension, the quicker you’ll draw your reader in.

Gayle Martin, aka Marina Martindale

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And Now for a Time Out

© 2019 by Gayle Martin. All Rights Reserved.

I’ve finally completed my latest Marina Martindale contemporary romance novel. Now I’m ready for a much needed break. In fact, I typically go on hiatus after a new novel is published.

Writing truly is one of my life’s passions. However, I’m also aware of the thin line between creativity and burnout, also known as the dreaded writer’s block. Burnout can happen when we overextend and push ourselves too hard, although sometimes we’re so into what we’re doing we’re not aware we’re overdoing it.

Once I finish one novel I’m already formulating the next one in my mind, and that’s okay. What’s not okay is starting page one the day after my current novel goes to press. Like the tide, creativity ebbs and flows, and none of us want it to ebb unexpectedly. I’ve learned, through experience, that the best thing to do after finishing a novel is to put my creative writing muse on the back burner, even as ideas for the next book pop into my head. Or, should I say, most especially when those new ideas are popping into my head. I’ll jot them down, and perhaps start working on a treatment, but I won’t take them any further anytime soon.

I enjoy my down time between novels. It can last for a few weeks to a few months because I’m no longer on a time schedule. Then, when I feel I’m ready, I’ll start my next book. Until then, however, it’s my time for me.

Gayle Martin

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How to Skillfully Use Flashbacks in Your Novels

A section of a clock placed in front of a starry sky.
© Can Stock Photo / Nikki24

Readers give us great feedback. Nearly all of the reader reviewers for my debut Marina Martindale contemporary romance novel, The Reunion, commented on how well the flashback scenes were done.

If used properly, flashbacks can greatly enhance the story. They’re a terrific tool for telling the backstory. Poorly done, however, and they can become a distraction or even a hindrance. They block your story flow and annoy the reader.

How to SKILLFULLY USE flashbacks in your novel

  • Use flashbacks sparinglyThe Reunion has fifty chapters, but only four of those chapters include flashbacks. The story is set in the present time. Therefore, I didn’t want to spend too much time with the flashbacks.
  • Your flashbacks should be relevant to the present time. The Reunion is about two lovers having a second chance many years later. The flashbacks were a tool to allow the reader to see the characters meet for the first time and get a general feel for their earlier relationship. However, I didn’t include their original break up as a flashback. Instead, it’s told in the dialogue. Dialogue, by the way, is another great tool for telling the backstory.
  • Watch where you insert a flashback. Never drop a flashback in the middle of a scene, especially if it’s cliffhanger. This will greatly upset your reader. I lead up to the flashback at the ending of a present day chapter. This prepares the reader for the flashback in the next chapter.

how to place a flashback

This flashback from The Reunion includes the ending paragraphs from Chapter One, with the last paragraph setting up the flashback scene. The flashback begins with Chapter Two.

* * *

Gillian looked a good ten years younger than her actual age. Despite all the time that had passed, she still looked much the same. About the only noticeable difference between then and now was that her long blonde hair was now a shoulder-length pageboy. As she reminisced about the past her mind suddenly filled with a whirlwind of images of all they had shared, the good times as well as the bad. It was like watching a movie, but the scenes were spliced together out of sequence.

“Calm down, Gillian,” she told her reflection. “You’ve got to pull yourself together.” As she took a few more deep breaths the events of one particular day began playing back in her mind with crystal clarity. It was the day she first laid eyes on Ian Palmer.

TWO

Gillian jammed her paintbrush into her palette and glanced at the clock. It was almost four twenty-five. Class would be over at four-thirty.

“Damn it,” she said under her breath as she tried to work more white paint into the canvas. This particular painting simply wasn’t coming together, and the more she worked with it the worse it became. It happened to every artist from time to time, but it was never good when it happened in a university art class the day before the project was due, and the painting in question would count toward the final grade.

In conclusion

As you can see, I’ve set the reader up for the flashback by referencing about how the events of one particular day played back in the character’s mind. The reader is well prepared, and expects, the next chapter to be a flashback.

And finally, I’ve only used flashbacks in The Reunion. So far I’ve not included any flashbacks in any of my later Matina Martindale contemporary romances. I only used them in The Reunion because of the long interval of time between two characters’ interactions.

Use flashbacks sparingly, and then only use them when they are absolutely necessary to enhance your plotline.

Gayle Martin, aka Marina Martindale

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Outline or Treatment?

© Can Stock Photo / katielittle25

It’s a perplexing question for authors, particularly newbies. Do you write an outline, or a treatment, before you begin writing your book? Or do you just sit down and start writing?

Outlines vs Treatments

Outlines are recommended for nonfiction books. They can be more precise. However, this blog is for fiction writers, so I’m going to talk about what is the best approach for us. And that is to write a treatment.

A treatment is a short summary of what your story will be about. The amount of detail you wish to include is entirely up to you. Some fiction authors may choose to write treatments summarizing each chapter. Others simply write a brief one or two paragraph description. It’s all a matter of personal preference. We’re creative writers, not technical writers, and the keyword is creativeFor us, writing is an art and not a science.

My treatments tend to be short; no more than a page to a page and a half. My objective is how I will begin my story, and how I will end it. I used to fret over what to include in the middle. However, experience has taught me to keep it brief. The details will come after I begin writing. In other words, my treatment is my launching point.

What about the characters?

Some fiction writers write bios for their characters which is certainly okay. However, I don’t do it myself. My characters come to life rather quickly, and once that happens they have minds of their own. (Which may sound freaky to non writers, but trust me, every fiction writer experiences this.)

Some authors like to refer back to their treatments as they write, and that’s perfectly okay. I prefer to put my treatment aside once I begin my story. As your characters come to life you may want to go in a different direction than you originally planned. Other ideas may come to you as you delve deeper into your story. Again it’s okay. We’re creative writers. This is how creativity works. 

Once my manuscript is complete I like to go back and look at my treatment. My books never end up as described in the original treatment. They always turn out better. It happens because I let my creativity flow as I write, and many new ideas will pop into my head as I go. My favorite example would be my first Marina Martindale novel, The Reunion.

One of my supporting characters, a young man named, Jeremy, was intended to be a rogue character. He would do his dirty deed and quickly exit the story. However, Jeremy was also Ian’s, the leading man’s, son. And as I got into the story, I quickly realized that Ian would never have a son like that. So, Jeremy went from rogue villain to a rival, competing with his father to win Gillian’s affections. This made for a completely unexpected twist in the story that resonated with me, and my readers. 

In conclusion

As I’ve evolved as a writer, my treatments have also evolved. They’ve become less detailed and more generalized. However, as I’ve stated before, how you choose to write your treatment is entirely up to you. There is no right or wrong way to go about it. 


Gayle Martin

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