plot development | From the Writer's Desk

Keeping Readers Engaged

We’ve all experienced it. We start reading a novel that got off to a great start. Then we lost interest. My mother was one of those readers who would plow through to end, no matter what. Even if the book was genuinely awful. Me, not so much. Life is too short to waste on a poorly written story.

Keeping readers engaged can be a challenge. Even the best conceived story ideas are useless if your novel becomes slow and boring.

Pacing is an important part of good storytelling. However, excessive back stories, boring or redundant dialog, and trivial details can slow your pace to a crawl. Once the reader loses interest, you’re done. A bored reader will toss your book aside and never come back. So, how do you keep the middle of your story interesting? Here are a few suggestions.

Backstories should only be revealed on a need to know basis

I only include those backstories which are relevant and move the story forward. Then I typically reveal them through dialog. The rest of my backstory remains in my notes.

If it’s been said once it may not need to be repeated

Your character has told another character that his mother died in a car crash. He doesn’t need to repeat himself. If it comes up again, consider using it in the narrative. For example, “as she hit the accelerator, he reminded her about his mother.” Inserting redundant dialog would have ruined a fast-paced narrative. But what if he needs to tell his story to a different character? Consider adding a spin. His mother was driving drunk.

Fine details aren’t always useful information

Readers don’t care if your character is wearing a blue dress or a green dress, or if it has buttons or pockets. Detailed descriptions are only necessary when they enhance the story. For example, “Her royal blue dress with the lace trim would show off the diamond pendant perfectly. She couldn’t wait to tell her friends Jake had given it to her.” Boom. That’s all the reader needs to know. Leave the rest of the details to their imagination, and move on.

I think of each chapter as an episode to move the plot forward. It should reveal a character’s motives, or emotions, or something we didn’t know before. If a scene, or even an entire chapter, doesn’t enhance the overall story I’ll delete it. Each chapter, and scene, needs a purpose. If it doesn’t, then it’s nothing more than filler material which will bore the reader, and the last thing you want is for the reader to toss your book aside and leave a bad review.

Gayle Martin

Creating the Perfect Storm

An essential element of writing fiction is to create an intense climax. It’s the “OMG!” moment readers expect, and like any other part of fiction writing, creating a page turning, believable climax takes some skill.

Set the stage properly

Introduce the conflict early in your story, and start out small. I write contemporary romance, ( as Marina Martindale), so my conflicts begin as seemingly everyday occurrences. Someone meets a stranger who seems familiar, but they can’t place them. Someone has fallen on hard times and has to do a job they don’t want to do. Someone stumbles across something which looks incriminating about someone they know. From there you add more tension and conflict and build your story.

How to Create the Perfect Storm

As you build up the tension there will come a point when it needs to be released. This is where the real fun begins. The following is my formula, and I find it works well.

I begin by putting my protagonist(s) in the wrong place at the wrong time, but I don’t make it obvious. My locations have included a courthouse in the middle of a busy workday. A resort hotel on a busy night. A character’s backyard on a beautiful fall day. Wherever it is, I make it the last place where the characters would expect something to go wrong.

I try to involve as many cast members as I can. The more people on the scene when it all hits the fan, the more potential for things to happen. Most importantly, I make sure everything that could possibly go wrong goes wrong.

Miscommunication adds to the drama. Phone batteries go dead, urgent messages aren’t delivered, rumors get started and misunderstandings abound. Someone will inevitably get the wrong information and draw the wrong conclusion.

I break up the action as much as I can. If more than one character is involved, I’ll end one scene with a cliffhanger, such as a character waiting for help to arrive, and jump over to another character and draw them in. Or I may go to a character who doesn’t know anything is wrong, and they’re not knowing adds to the overall tension. Breaking up the action while everything falls to pieces creates more suspense and keeps the reader engaged.

Timing is everything. I don’t want my climax to end too quickly, nor do I want it to drag on too long. Each story I write is different, so I rely on my own intuition. Typically, my big climax scenes go for two to three chapters. It all depends on how complex the scene is, and how many characters are involved.

So there you have it. The more things go wrong, the more suspenseful, and dramatic, your climax will be, and the more it will engage your reader.

Gayle Martin

You Only Have Ten Seconds

So you’d better make them count

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

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 can give us great feedback. Nearly all of the reader reviews for my 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 and when to use flashbacks

Use flashbacks sparingly. The Reunion has fifty chapters, but only four 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. The Reunion is a story of 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. It’s told in the dialogue. Dialogue is another great tool for telling the backstory.

Watch where you place a flashback. Never drop a flashback in the middle of a scene, especially if it’s cliffhanger. This will greatly upset your reader. I set 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 scene. The flashback begins with Chapter Two.

* * *

Gillian looked a good ten years younger than her actual age. Despite all the time which had passed, she still looked much the same. About the only noticeable difference between then and now was 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 said to 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 only used flashbacks in The Reunion. I’ve not included them in any of my later Marina Martindale contemporary romances. They were only used in The Reunion because of the long interval between two characters’ interactions.

Use flashbacks sparingly, and then only use them when they are absolutely necessary to enhance the plot line.

Gayle Martin, aka Marina Martindale

The Problem with First Person Narratives

As fiction writers, we have two ways to present our story; a first or a third person narrative. This time, however, I’m going to speak as a fiction reader, and not an author.

As a reader, I simply hate the first person narrative. To me, it’s the narcissistic narrative. It’s all, me, me, me, I, I, I, me, me, me, I, I, I. This gets really old, really quick. However, I still get it. The author wants me to have a more intimate relationship with the lead character. The problem for me is that I want to know what other characters, particularly the antagonists, are up to.

I love reading fiction written in the third person narrative. When I read a novel I’m essentially watching a movie in my head. I want to see the bad guys cooking up their evil schemes. I want to be with them when they do their dastardly deeds. Likewise, I want to experience the protagonist’s feeling of triumph when the bad guys get their comeuppance. I also want to see the antagonist’s moment of regret. This is why, as a reader, I only read third person narratives. I get to see multiple points of view, and I get to see scene changes with different characters, just like they do in the movies.

I realize this is my own personal take. Other readers may like the first person narrative. To each their own. However, I prefer to write my own stories the same way I prefer to read them. This is why as a fiction author and writer, I only write in a third person narrative.

Gayle Martin

Outline or Treatment?

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 as 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. When writing fiction, it’s best 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 creative. For us, writing is an art, 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. Once it happens they have minds of their own, and they will define themselves. (It 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, which again is 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 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. As I got into the story, I quickly realized Ian would never have such an evil son. 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 which 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

Storytelling 101

Fundamental plot development

All stories, whether it’s a play, a short story, or Anna Karenina, revolve around conflict and basic plot structure. I call it The Four Cs of Storytelling, although other writers may call it something different. It’s the same timeless formula that Shakespeare and Homer used. I first learned from my high school drama teacher, and I use with each and every story I write.

The four C’s of storytelling

Characters
Conflict
Climax
Conclusion

Characters

Who is your story about? Without characters there is no story to tell. I typically begin my stories by introducing my lead protagonist(s). However, I don’t consider this a hard and fast rule. Sometimes my opening line will be about a supporting character, who happens to be with the lead protagonist. He or she will then introduce the lead character to the reader. You may wish to begin your story with a minor character. I’ve read novels where the first few paragraphs, or even the entire first chapter, are written to set up the lead character’s introduction. Some authors may begin by introducing the antagonist, which to me is always an interesting twist. Whichever way you go, the plot revolves around the characters and the things they do.

Conflict

This is the meat and bones of the story. The conflict creates the drama which drives the story. Imagine a story about a happy couple who never argue or disagree. Nothing bad ever happens to them. They live long, happy, charmed lives where nothing ever goes wrong. The end.

Now let’s take that same couple. He tells her he has to work late that night, but he arrives home in the wee hours of the morning. She smells another woman’s perfume on his clothing and sees lipstick on his collar. Care to guess what’s coming next? So, which story would make the most compelling reading? The one about the perfect couple whose lives never go wrong? Or the one where the husband is about to get his butt kicked? Again, the plotline revolves around conflict, and how the characters react to it.

Climax

The high point of the story. The punch line. They argue. She grabs a lamp off the nightstand, and in a fit of blinding rage, she coldcocks him over the head. He falls to the floor, unconscious and bleeding. Meanwhile the neighbors heard them fighting and called the cops. The police soon arrive and bust down the door. He’s lying dead on the floor while his blood, and her fingerprints, are all over the lamp.

Conclusion

This is when loose ends are tied up and you end the story. She’s hauled off to jail, goes on trial, is convicted and goes to prison. I write stand alone novels, so I leave the readers with a definitive, satisfying ending. However, this isn’t a hard and fast rule either. Some authors may prefer a more ambiguous ending. Perhaps some compelling evidence was presented during the trial which resulted in a hung jury, so they’ll leave it up to the reader decide. Those authors who are writing a series will certainly want to leave something unresolved to continue into the next book.

So there you have it. The four basic components of plot development and storytelling. What you put into them is up to you, and the possibilities are endless.

Gayle Martin

Knowing When to Quit, Part Two

In my earlier post, Knowing When to Quit, Part One, I talked about redundancy. This time I’ll discuss another way to overwork a story. Creating over the top scenarios or plot lines which don’t connect well with the earlier story. This can be especially problematic when you’re writing a series. There simply comes a point when your story, even if it’s a series, has to end. Otherwise it may become absurd or even bizarre.

I’ll use an example familiar to most of us. Star Trek.

I grew up watching the original Star Trek. The characters, human and alien, were compelling and believable; so much so that they became iconic. However, by the third season, the writers seemed to be running out of ideas. The ridiculous storylines in some of the later episodes hurt the integrity of the series. NBC then cancelled the show. Afterward it went into syndication where its following grew.

The movies started ten years later. The original characters were back. However, they were older and they’d changed over time. This kept them interesting. The final original cast film, Star Trek The Undiscovered Country, completed their storyline with a well thought out ending. In the meantime, three new television series, Star Trek the Next Generation, Deep Space Nine and Voyager, created a plethora of interesting new characters with plenty of potential for exciting new stories. They were followed by a series of movies featuring the Next Generation cast.

Sadly, it was all lost for me with Star Trek Enterprise, and the most recent movie series. Enterprise, the fifth TV series, was a prequel. And prequels, regardless of the genre, can be problematic. To me, it was lackluster, and I soon lost interest. The movie series, also prequels, featured younger versions of the original characters. They too were disappointing. The stories took place in a parallel universe, so all of the interesting back-stories established in the original NBC TV series were gone. I found it way too confusing, and it certainly wasn’t the Star Trek I’d known and loved for decades. Sadly, the last movie series ended after the untimely death of one of the actors.

This is what happens when you run out of ideas. You lose the integrity of your story, and you risk losing your following as well. As storytellers, the two hardest words for us to write are, “The End,” but write them we must, as all stories must end. Otherwise, in the words on my college painting professor, you really do turn your work into mud.

Gayle Martin

Knowing When to Quit, Part One

I was an art major in college, and one of my painting professors once told our class, “Every painter needs to have someone standing behind him to shoot him when he’s done. Otherwise, he’ll overwork the painting and turn it into mud.”

It’s extremely difficult for us as artists to see our work objectively enough to know when it’s finished. And once we realize we’ve overworked something, it may be too late to salvage it. Fortunately, when it comes to writing, there are warning signs that we can look for. One would be redundancy. I’ll use my Marina Martindale contemporary romance novel, The Deception, to illustrate my point.

I was near the end of the story. I’d resolved the main conflict. I was tying up remaining the loose ends, and then I discovered that I’d left a huge opening for the antagonist to go after the protagonist a second time. This left me with two options. One was to write a sequel. Tempting thought, as I loved my cast of characters. However, in this instance, the conflict would have been virtually the same as before, making sequel redundant. In other words, it would have been a boring, “been there, done that,” story. So, rather than waste my time, and my reader’s time, with a bad sequel, I wrote a definitive ending. I killed off the antagonist, ending the feud once and for all.

Does your story feel like it’s getting stale? If so, go back and look at your conflict. If it keeps repeating itself, or if the results of your character’s choices are always the same, it may be that your story has become too redundant.

Gayle Martin

Soap Opera Plotlines

Once upon a time, my friends and I were soap opera junkies. We loved our soaps. I taped my favorite soap everyday for years. How times have changed. I don’t watch soaps anymore, and neither do any of my friends. We stopped watching them years ago. I don’t think it’s our age. My grandmothers were watching their favorite soaps when they were well into their eighties. I think it has to do with the fact that today’s soap operas are so poorly written.

Soap operas used to be about love and romance. Then one day the producers decided they wanted younger, more hip audiences. As a result, the writers began writing outrageous story lines. Demonic possessions. Frozen cities. Characters buried alive. UFOs. Good plot lines for shows like The X Files, but certainly not what we wanted to see on Days of Our Lives.

Those of us who write romantic fiction know basic plot structure revolves around conflict. Two characters meet and fall in love, but there are obstacles to overcome before they can live happily ever after. For many years, soap operas relied on classic plot lines which consistently worked and kept viewers watching.

The Romantic Triangle

Boy meets girl. They fall in madly love. However, another girl is in love with the same boy, and she refuses go quietly into the night. So she plots and schemes, relentlessly, to break them up, thus becoming, The Girl We Love to Hate.

Extramarital Affairs and Illegitimate Children

The occasional side effect of the romantic triangle. Soap opera writers kept audiences riveted for months, sometimes years, wondering when an unsuspecting husband, or ex husband, would finally discover that his son or daughter actually wasn’t his son or daughter.

Long Lost Half Siblings

Boy meets girl. It’s love at first sight, but one of their mothers is dead set against their relationship. She does everything in her power to break them up, and before long the truth comes out. Years ago, Mom had an affair with the father of her child’s love interest, and they’re half brother and sister. Fortunately, this always comes out before the romance is consummated.

Sometimes the writers will create a plot twist. The other mother will come forward later on and say no, so and so wasn’t her child’s father after all. Therefore, they were never half siblings. However, this only happens after the would-be lovers have moved on to other relationships. The fun never stops.

The Big Frame-Up

From time to time a villain has to be killed off, so why not frame a favorite character for a crime they didn’t commit? Of course, they would eventually be found innocent, but not until they’d gone on trial, been convicted and ended up in prison. This plot line can be easily adapted to 21st century technology by having the real killer tamper with the DNA test results.

Catastrophic diseases or injuries

Hodgkin’s Disease. Brain tumors. Comas. High risk pregnancies. All were common soap opera maladies. Tripping over a waste basket could cause a miscarriage, and how many times did a favorite character go blind or deaf? Luckily, in Soap Opera Land, everyone recovers, only to be struck down with another malady a few years later. However, soap opera characters are all immune to one disease. Post Traumatic Stress Disorder.

Amnesia

A rare medical condition in the real world. At one time, however, it was quite common on soaps. Having a favorite character lose his or her memory and wander off somewhere, with everyone else thinking they were dead, made for great soap opera watching.

Returning from the dead

A favorite character is involved in a plane crash. Or they lose control of their car and it crashes over a cliff and into the sea. The character is then missing and presumed dead, but the body is never found. Thus the character leaves the show, only to return later, oftentimes with another actor assuming the role.

This plot line has many possibilities. The character may be recovering from the aforementioned amnesia. (Although their memories will eventually return.) The other scenario is the character escaping after being held captive somewhere. Regardless of the circumstances, no one ever makes it home until after their spouse or lover has moved on and found someone else.

So there you have it. Any romance writer worth his or her salt knows such stories of star-crossed lovers have worked since Romeo and Juliet, and they work just as well today. I use variations of them in my Marina Martindale romance novels, and my readers tell me they can’t put my books down.

Gayle Martin

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