Lisa Aldridge's Blog: The Write Magic

What happens when life becomes a time thief? When life gets in the way and your writing time is stolen? The most important thing is to keep the stories simmering, don’t let them get entirely cold. It might not be possible to keep up with everything at times. (My blog went dormant and it seemed that I didn’t have any time to write while I helped take care of my grandmother after my mom was in an accident and broke several bones.)

But our characters need to stay warm and alive. They need to continue breathing and speaking to us from time to time. If they go completely comatose, then when we try to revive them, they are disoriented and have memory lapses. This may cause inconsistencies in the story or in the character themselves. It could lead to bigger problems and major editing headaches.

How can we prevent this type of crisis when writing time becomes elusive? The answer is based on the oldest type of magic. Love. As writers, we have a love for writing, a love for the process, a love for our characters. That love is enough to keep them alive if we use it wisely:

1. Keep a writing journal with you at all times, even if you don’t have time to write, you have time to jot down a note or two. It takes less time than making a shopping list. For example, I found a note about one of my stories that simply read, Italicize mc’s thoughts and another note that said, “invoke curse here.” I know that won’t make sense to anyone else, but it was all I needed to keep my story alive and moving forward in my head.

2. Read your own story. Hemingway said “…read what you have written and, as you always stop when you know what is going to happen next, you go on from there.” He read his own work every day. Even if you don’t have time to write, read it. Keep it fresh as possible then let it simmer in your imagination and see what happens.

3. Send off whatever you have written to a few trusted friends that will read it and respond. When you don’t have time to write, someone else reading your work is enough to keep it alive. The love can come from other people, your “first responders.”

4. Sketch a picture of your character while you’re stuck in traffic or sitting in the waiting room. It doesn’t matter if the face of your character is in pen or pencil, on the back of an envelope, or in the margins of your manuscript, or in the palm of your hand.

5. Extend your shower by three minutes. Use those three minutes to relax and meditate. If your story has been simmering properly, then your characters will use those three minutes to their advantage. They will bubble to the surface from your subconscious, visit you, and tell you what has been happening to them while you were away. Make notes about what they said as soon as possible.

My first time travel story (The Ring O' Callum Brodgar) was recently published in an anthology: To Love a Scotsman: a Romance Anthology. The plot device I used for this story is often used in fantasy and science fiction; it's called a "time slip."

A time slip is used in fantasy to send characters into another period, but the means through which it happens is unknown in the story. There are many time travel stories that use time slipping as a plot device, usually for the main character, who has no control or understanding of how or why they time travelled. Once the protagonist has been deposited in another time, the story chronicles their attempts to blend in and/or get back to their original era. However, since they don’t know how it happened, if and when they return, the precise method of their return remains a mystery. Often, they are led to a certain place and/or a specific set of circumstances which they try to recreate in order to reverse the time travel so they can return home.

In “The Ring O’ Callum Brodgar,” there is a twist to the traditional time slip: the main character doesn’t know she has time traveled and, rather than the traditional trip to the past, she has traveled to the present from the past.

Here’s a brief synopsis:
In present-day Scotland, Anne Bradenegh is on an archeological excavation to the 18th century Castle Brodgar ruins, hoping to unearth some artifacts from the past. Instead, she uncovers her own past when she is visited by the mysterious Callum Brodgar, who has come looking for the cloak pin he lost centuries ago. Suddenly, but momentarily, she is thrust back into her former life and remembers snatches of what she has lost to the present. She must decide which life she will choose before it’s too late. The modern, professional life with her colleague and new love interest Cameron Sinha? Or the passionate life she once had in Castle Brodgar with Callum?

Link: “To Love a Scotsman: a Romance Anthology” https://www.amazon.com/dp/B06WRX1J7X

When I’m working on a novel, I need to write on it every single day, without fail, even if it’s only a few lines. But the important thing is for that story to stay in my head and simmer in my subconscious even when I’m not actively working on it. Of course, the ideal day involves no distractions, but life happens, so here are a few ideas to keep your focus or to regain your focus:

1. Start your writing day off right. Don’t skip a meal to ‘save time’ because all that does is make you lose your concentration when the hunger hits. Eat something nutritious (foods that are loaded with sugar/fats can make you drowsy) and then put a couple snacks within reach. I admit, my favorite snack is dark chocolate! Remember to stay hydrated too.

2. Don’t even pretend to do something else while you write. Social media is not your friend when you’re supposed to be writing. Close every tab, only get online if you need to know something urgently enough to leave your story for it. Otherwise, put a reminder in the narrative to grab that detail later and keep moving the story forward. I use *** to denote a place in the story that needs a detail or a fact check. It’s easy to hit “control F” and do a search for *** or a similar symbol. That way you don’t get pulled out of the story.

3. Eliminate as many distractions ahead of time as you can. Warn your friends and family that you will be at work and not taking calls. The phone is now only for emergencies. However, someone will forget and call and apologize and try to talk anyway. Now that you know that is inevitable, unless you are willing to completely cut yourself off from civilization, don’t get angry. Anger is not a good writing tool unless you are writing a letter to the editor about that lady that keeps bringing her poodle into your yard to doodle.

4. Sometimes a change of scene is essential. If your writing seems stale, go someplace else to write for a while. It doesn’t matter so much where; a library, your parked car, the inside of your shower, just anywhere. Seriously, I had a friend who tried sitting in her shower; she ended up writing a lovely poem about mold.

5. Figure out your ideal writing time. Get up an hour earlier if necessary. Take a nap and stay up late. When is your house the quietest? Or maybe you can write when it’s the busiest because you can sneak away. It is possible to train yourself to write anywhere. Diana Gabaldon said, “When you’re reading, you’re not where you are; you’re in the book. By the same token, I can write anywhere.”

6. Occasionally, it might take a little more to keep your focus. Many writers find prayer, meditation, running, and/or yoga to be a good way to find inner balance and inspiration. For me, it removes any anxiety that I might be feeling and replaces it with energy.

7. Reading something in the same genre that you are writing in can be very helpful. If I have a project that I’m not going to be able to work on for awhile, I carry a book in that genre with me and read bits of it when I have a moment.

8. Print out your manuscript, however much you have written. Read it when you’re away from the computer, make a few notes on it as ideas come to you. That way you have something to give the next time you get a chance to write. Hemingway said, “I had learned already never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it.”

9. Outside noises can be a huge distraction. I have several Pandora stations that I rely on when writing and isolation headphones to block out the noises. I sometimes write in the middle of the night when noise should be at a minimum, but I still use my headphones even if I’m not listening to music because someone at my house snores, but he doesn’t want me to tell you about it.

10. Finally, a last word of advice from J. K. Rowling, “Be ruthless about protecting writing days…although writing has been my actual job for several years now, I still seem to have to fight for time in which to do it. Some people do not seem to grasp that I still have to sit down in peace and write the books, apparently believing that they pop up like mushrooms without my connivance.” So, when it’s hard to focus and you keep getting interrupted, just remember that you are waging the same battle as some of the world’s greatest writers!

Writing blurbs for stories and novels is painful for me. I spend longer working out those 250 word blurbs than writing 250 pages of narrative. (Possible exaggeration) However, it's got to be done.

What you need to know about writing a blurb:
1. It's the first thing the reader learns about the story.
2. It introduces the main characters, the situation, and something about the dilemma.
3. It needs to be interesting.
4. Sometimes the blurb can pose a question that makes the reader want to know the answer and hopefully is willing to read long enough to get it somewhere in chapter twelve.
5. The blurb isn't just about the book though. The blurb is about the reader too. Keep in mind who your target audience is and write the blurb for them.
6. Write more than one or two blurbs and select the one that best fits your audience.
7. Limit what they need to know, hold back something for later. Tease their imaginations with enough information that they wonder. Try to get a connection between the reader and the character by the end of the blurb.

1. The neighbor next door is definitely a wizard, but doesn’t want anyone to know. You eventually confront him about it. What is his reaction?
2. Your parents think you’re a normal teenager, but nothing could be further from the truth. What are you actually doing when they think you’re studying for a test? What are you actually listening to when they think you’re listening to the Top 10? What are you actually doing when they think you’re at a sleepover with friends?
3. The villain in your story has just discovered your protagonist’s weakness. Describe the weakness and how your villain intends to exploit it.
4. It’s your first night in the castle. Describe the setting and describe what goes on during the night when everyone else is asleep.
5. The florist just delivered a bouquet of flowers to your door. But these aren’t ordinary roses or daisies! These are dangerous flowers with strange powers. Tell us what they look like, smell like, and what powers they have.
6. A giant serpent is threatening a seaside village. It’s your job to identify supernaturals who can combat the serpent and save the villagers. Who do you get? Write some dialogue between you and at least one supernatural, trying to convince them to fight the serpent.
7. In true C. S. Lewis style, gnomes are human-like and live in underground caves; they exhibit a variety of skin colors and physical attributes. Using this as your base, create a situation for your gnomes. What do they look like? What do they like to do? What threatens them?

1. After hiding from a dragon for several days, you slowly climb out of your hiding spot. As you reach around to pull yourself up, you realize a thick, green slime is dripping down your arm. What is it?
2. A small creature is trying to sneak into your backpack. Describe the creature in great detail. Remember to include things like: how it smells, how it feels to touch, etc.
3. Your protagonist has been transported to a foreign location. What are the first five things they see?
4. Your hero is having dinner with an old friend who behaves oddly. After dinner, your hero decides to follow the old friend who has ducked into an alley and transforms. What does the friend transform into and what does it mean to your hero?
5. Your eccentric uncle passed away and you’ve inherited his house. The first thing you notice about the house is a closet that was not there when your uncle was alive. What is it?
6. The protagonist in your story enjoys horseback falconry. One day, his falcon brings back something very unusual in its talons. What is it?
7. Walking through the woods, you happen across a meadow with, what appears to be, woodland animals gathered in a circle performing some sort of ritual. Describe your initial reaction and what you observe.

1. Make your readers feel invested in your character. When writing any type of fiction, including scary stories or scary scenes, one of the first goals is to make your readers feel invested in your protagonist. It’s important that before the frightening scenes begin, the reader cares about what is happening to your main character. Emotional investment means that when the scary stuff starts, adrenaline levels rise.

2. Create a scary atmosphere. Whether or not your character is in danger, they must feel uncomfortable in order for the illusion of fear to work. Perhaps they see or hear things that frighten them, this can simply be a matter of perception. Focus on the descriptions that add to the feeling of discomfort, rather than the mundane.

3. Keeping tension in the scene. While there are a number of ways to provoke a fright in your readers (scary noises, sudden movements, crazy, unpredictable character shows up), that type of tension can only last a certain number of pages. While tension levels change from scene to scene, there has to be a significant level of change that increases the fear before the resolution.

4. Does it scare you? R. L. Stine gave this advice: “When I write, I try to think back to what I was afraid of or what was scary to me, and try to put those feelings into books.” Chances are that if you’ve written a scene that feels frightening to you, it will also scare your readers. If it doesn’t provoke the right level of fright, time to rewrite.

5. Use humor to balance dark and light. If your scary story causes so much tension and anxiety in your readers that their muscles become tight with suspense, then it’s only fair to relieve them with a bit of humor. Let them relax for a moment before you hit them with the next scary scene. Humor surprises the reader in a different way and helps the reader connect to your characters.

1. Give your main characters their own style. Think in terms of clothing, jewelry, and accessories. One of my female fantasy protagonists wears boots “the color of maple leaves in the fall.” One of my villains carries a pearl-handled gun and accidentally shoots a hole through a mink coat that used to belong to the actress, Veronica Lake.

2. Quirks are a great way of distinguishing a character. Remember Robert from “Everybody Loves Raymond?” He had this crazy quirk of touching his food to his chin before eating it! Unforgettable. The quirk should affect the way your character interacts with others, even in minor ways.

3. Actions speak louder than words. Make your character do something early on that will keep your readers engaged. One of my young adult protagonists has a lot of moxie; after she gets kidnapped and ransomed for a stolen painting, she figures out a way to steal it back! She’s the type of character that makes the reader wonder what she is capable of doing next.

4. Dialogue can be an interesting part of any character. Unique patterns of speech or an accent can make them more memorable. Remember Professor Quirrel? Stammering as he spoke made him stand out immediately. The caution here is to be careful with accents, you don’t want it to get in the way of readability.

5. Get control of those emotions! Every character feels something, your job is to show more of your character’s personality through portraying their emotions. Does your character have road rage? Provide a way for your character to show emotion. Put them on a narrow two-lane road with a slow-moving circus caravan in front of them. Does your character whistle when they’re nervous? Make them very nervous at their own wedding or while they are being chased by a wild boar! Emotions are socialized in every society, so make sure that whatever emotion your character displays, matches the culture in which they live.

6. Everybody wants something. Your main character wants something too and it’s important to them. The problem is that what they want is going to come into conflict with what they have to do. For example, if your protagonist is studying for final exams and the college president goes missing, your protagonist will no doubt have to save her. The conflict of desire to pass finals and the need to save the college president becomes an interesting and personal dilemma for your readers too.

7. Details, details, details. Characters with an already established background feel more three-dimensional. Even if the details are in some back story that will never be published, you will know how they will react in various situations. This background information will help keep your character consistent and more believable. The more characters you have in a story, the more important details become, even minor details. But those small details make a character more vivid and memorable. Some people use Character Profile Worksheets to help them keep track of the details about each character in the story.

A good book cover whispers to the reader, as if the characters inside the story are subtly pulling us toward them, daring us to peek inside, only to be drawn in completely.

That whisper raises our emotional expectations to the point that we want to pick up the book, hold it in our hands, feel its weight, and delicately turn the pages, allowing our eyes to consume the words and phrases.

Jane Mendelsohn, author of "Cover," said that a good book cover "...quietly suggests some of the story’s major themes...and wraps them up in an image 'as rich as a poem.' "

The back cover confirms our suspicions: This is where I want to spend my time. The art and the summary work together to give us a glimpse of the dream that awaits between the covers.

Whether you have a traditional publisher or not, take the time to walk through a bookstore and glance at the books in your genre. What caught your eye? What held your attention? Why? Which book covers pulled you right over to them, like a magnet? Which book cover was so irresistible that you had to pick it up, turn it over, and look inside?

Now find a book that you didn't notice at all and compare the covers. Look at color, text, imagery, flow of design, positive/negative space, etc., and think about how it makes you feel. Consider your own book and decide what kind of initial reaction you want potential readers to have and what kind of emotional impact that will give them.

These types of thoughtful examinations will help you create a better book cover, whether you are working with a graphic design artist or it's a DIY cover.

Please remember that when you hire a professional cover artist, they bring experience, knowledge, and an eye for design, but they don't always have time to read every word in every book for which they create a book cover. This is why you need to share important aspects of your story and images that you feel will resonate with readers. Then step back, and watch the magic happen!