Anne K. Hawkinson's Blog

Book covers are a tricky business. All of the wonderfulness of your story needs to be reflected in an attention-grabbing cover that will make readers want to choose your book. Now that your story has been written, lets explore some cover thoughts and ideas.

Genre’

It’s important to convey the genre’ of your book to give potential readers an idea of what your book is about. Established design styles will serve as a guide, but here are a few examples: A planet (not Earth) with a darker design might indicate it’s a science-fiction story, an image of a couple (or a solitary figure) with flowing, curvilinear script might place it in the historical romance category. A landscape or a positive, uplifting image might be just the thing for a self-help or motivational book. Books for children most often have bright colors and simple, easy-to-read titles. Visit a bookstore or research online for ideas and standards.

Hints

Once you have the genre’ established, you’ll want to give your potential reader an idea of what your book is about without giving the entire story away. Don’t clutter the cover with every detail that’s in the book. Instead, spend some time thinking about what one or two main and/or intriguing images might be best for the cover. Relate them to the story, but don’t give anything away. The cover of your book should invite the reader to discover what’s inside.

Something fun to consider: Add one, small object (perhaps for the back cover) that makes readers wonder why it’s there. Is it a birthday cake, or a serpent? A trident? A wheelbarrow? If you decide to add an object that raises a question, ensure it’s answered and/or explained to the reader in the story.

Fonts and Formatting

If you decide to have a hard copy and an eBook, you’ll need to be aware of certain technological standards to help your book’s visibility. Choose an easy-to-read font with a color that stands out from the background. The size should be easily visible on the paperback version as well as a thumbnail image. Not everyone reads hard copy books; many read on electronic devices and on their phones.

The title should be the focal point. It tells the reader what the book is about and separates it from other books on the shelf (even if they’re in the same genre’). Make it easy-to-read while giving an indication of what the book is about.

Series?

Is your book part of a series? You’ll want to think of an image or some other design element that will tie them together. Is it a particular location that changes throughout the series—seasons or centuries? Is there one object (like a hat, teapot, or writing desk) that changes or evolves through the series? The object you choose should have special significance in the story because if readers see it on the cover, they will be looking for it on the page and will want the question of its inclusion explained. A key, thematic element will go a long way in connecting your series and grabbing readers’ attention. You may want to indicate that it is one in a series (Book #1 in the Read Them All series) or reinforce the genre’ (A Time-Travel Romance).

On the Back

The back cover should contain the book blurb, a really important part of your cover. It reveals a bit about the plot, characters, and the central conflict of the story. You have limited space, so use it wisely.

Your “hint” image may appear here. See the “Hints” paragraph if you’re considering one.

Also, a catch phrase (if you have one) above the blurb might catch potential readers’ attention.

There’s also some business-related stuff that has to go here, like your book’s ISBN number and the barcode that houses it. The publisher’s name may appear here, along with any awards/testimonials you may want to include. Caution: Don’t clutter it up! You may want those on the last page of the book.

It might help the book’s background image if it’s something that flows from the front to the back. Not duplicating the front, but continuing the shading/coloring from the front to the back will make it more attractive and show the reader that it was given the proper amount of thought and consideration.

Know your target audience, and do your research! If you’re paying for cover design, it will save on the number of drafts/versions, which may save you money in the long run. If you’re designing your own cover, you’ll want to know what the genre’ guidelines are so your book has the best chance of fitting in and being plucked from the shelf. Be patient. The first draft will not be the last. Be thoughtful and deliberate in making it the best it can be!

Image credit: Pixabay

The time has finally come to write the dedication page to the story you’ve sweat blood and tears over. Should be easy enough, right? Sometimes it seems that these little blurbs are harder to write than the book itself. Let’s toss around some ideas to help you get this important part of your book written.

Who?

Who should you dedicate your book to? Well, there are many answers, and they can be a lot of creative fun. You can dedicate it to your reader. Easy enough. You can recognize anyone who was instrumental in getting the book written. This is a bit different from the Acknowledgements page. Some authors have a great time with this page. One wrote the following: For Toast, the cat, who was no help at all. You can be serious or light-hearted. Think about memories or events that occurred when you were in the trenches, getting to that next scene or chapter. Another I found: Hi, Dad! *waves*. It speaks volumes in just a few words.

Inspiration

Perhaps the inspiration for your story came from some inanimate object that came to you in an unexpected way. To that ring I found on the sidewalk. The ring may/may not have had a role in the story, but it might be inspirational to your dedication if it played some role. It’s your story, your dedication. If it’s relevant, you can thank a building, an event, or something in nature that helped you write your story. Was it an endless supply of chocolate or coffee? A holiday that was particularly memorable, written while you were trying to get that difficult scene to make sense? A sunny walk that ended in a sudden downpour (and ended up solving a plot problem in your story)? Dedications don’t always have to be about people.

Kindred Spirits

Speaking of people, your book can be dedicated to like-minded people. To those who dream about the moon. What about readers who might have similar hobbies (outside of writing) as you? To those who love to crochet. You may want to tie/align these to your story, or not. It’s up to you. To button collectors everywhere, I’m with you! One author dedicated his book to his student loans!

You can be as lighthearted or as serious as you want. You can thank people by name, or acknowledge something wonderful (or not) in the world. Your dedication can touch on something in the book, someone or something that sparks a memory from the time you wrote it, or just be something you feel like writing. You can be philosophical, grateful, or irreverent. Go on. It’s your dedication. Have fun with it.

Image credit: Pixabay

When I developed the idea for my upcoming novel series, Thornberry Manor, I wanted to include the intriguing, fascinating element of time-travel. Thornberry Manor itself is located in a beautiful (fictional) location in central England and involved significant research to make that part of it come alive for the reader. I’ve been to England several times, so I had a feel for the culture and geographic location. Time-travel? Not a clue. How do you research something that doesn’t exist?

How Does it Work?

First of all, I needed to establish how it would work in my story, my series. What factors needed to come into play or align in order for time-travel to take place? Paisley Venne (my main character) has no idea she’s about to be transported until several events coalesce and send her back in time almost 200 years. I didn’t want it to be just one thing, like a magic button or shimmering doorway. There needed to be significant, meaningful elements that Paisley herself wouldn’t be aware of—at least, not right away. She needs to gradually put the pieces together and come up with what she thinks the criteria is.

A Special Initial

In the process of researching their family ancestry after learning they’ve inherited Thornberry Manor, Paisley and her mum discover that the female members all have names that start with the letter ‘P’. It seems to be quirky but not all that unusual. Lots of families decide to give their offspring names that start with the same letter, like Luke, Lisa, and Lilly. In Paisley’s ancestry, it extends to only female members who were not necessarily siblings and includes those who were brought into the family through marriage. Paisley finds it interesting, but not particularly significant. (FYI: Paisley’s mum’s name is Molly. Is this noteworthy?)

Thornberry Manor

The manor house was built in 1750 by Cornelius Hix, Molly’s ancestor. It’s a beautiful, stately home located on significant acreage, fronting a small lake (picture Pemberly from Pride and Prejudice on a smaller scale). It has fallen into disrepair, and Paisley has just six months to submit an appraisal on the house and property if she’s to have any chance of avoiding a huge estate tax bill. The setting and welcoming feel of the house is in sharp contrast to their small flat above the bookshop they run in Bonchurch on the Isle of Wight. When she first passes through the heavy, oak doors, she feels like she’s truly come home. It’s unexpected, but comforting and leads to her vision for the manor as a vacation/gathering destination to help it pay its way.

The Necklace

Paisley makes several trips to Thornberry as her plan unfolds. Clearing, sorting, and discarding leads to the discovery of a necklace suspended on a nail inside an antique wardrobe in one of the bedrooms. It’s definitely old, but how old? Shaped like a flattened orb, it has a dark, green stone on one side and the letter ‘P’ under glass on the other. The metal setting and chain are unfamiliar, but Paisley is sure a jeweller can sort it out. For now, it’s a beautiful, antique heirloom that once belonged to someone in her family—until she slips it over her head.

Paisley is still at Thornberry, but not in the present. She’s traveled back in time to the year 1829. It’s both terrifying and exhilarating. As the afternoon wears on, she knows she needs to leave the gathering downstairs, but how? If she manages to get back to the present, will she ever be able to return to the past? She’s learning about time-travel by trial and error, but there are clues. Let’s just hope Paisley can follow them and figure it out.

Image credit: Pixabay

When I developed the idea for my upcoming novel series, Thornberry Manor, I wanted to include the intriguing, fascinating element of time-travel. Thornberry Manor itself is located in a beautiful (fictional) location in central England and involved significant research to make that part of it come alive for the reader. I’ve been to England several times, so I had a feel for the culture and geographic location. Time-travel? Not a clue. How do you research something that doesn’t exist?

How Does it Work?

First of all, I needed to establish how it would work in my story, my series. What factors needed to come into play or align in order for time-travel to take place? Paisley Venne (my main character) has no idea she’s about to be transported until several events coalesce and send her back in time almost 200 years. I didn’t want it to be just one thing, like a magic button or shimmering doorway. There needed to be significant, meaningful elements that Paisley herself wouldn’t be aware of—at least, not right away. She needs to gradually put the pieces together and come up with what she thinks the criteria is.

A Special Initial

In the process of researching their family ancestry after learning they’ve inherited Thornberry Manor, Paisley and her mum discover that the female members all have names that start with the letter ‘P’. It seems to be quirky but not all that unusual. Lots of families decide to give their offspring names that start with the same letter, like Luke, Lisa, and Lilly. In Paisley’s ancestry, it extends to only female members who were not necessarily siblings and includes those who were brought into the family through marriage. Paisley finds it interesting, but not particularly significant. (FYI: Paisley’s mum’s name is Molly. Is this noteworthy?)

Thornberry Manor

The manor house was built in 1750 by Cornelius Hix, Molly’s ancestor. It’s a beautiful, stately home located on significant acreage, fronting a small lake (picture Pemberly from Pride and Prejudice on a smaller scale). It has fallen into disrepair, and Paisley has just six months to submit an appraisal on the house and property if she’s to have any chance of avoiding a huge estate tax bill. The setting and welcoming feel of the house is in sharp contrast to their small flat above the bookshop they run in Bonchurch on the Isle of Wight. When she first passes through the heavy, oak doors, she feels like she’s truly come home. It’s unexpected, but comforting and leads to her vision for the manor as a vacation/gathering destination to help it pay its way.

The Necklace

Paisley makes several trips to Thornberry as her plan unfolds. Clearing, sorting, and discarding leads to the discovery of a necklace suspended on a nail inside an antique wardrobe in one of the bedrooms. It’s definitely old, but how old? Shaped like a flattened orb, it has a dark, green stone on one side and the letter ‘P’ under glass on the other. The metal setting and chain are unfamiliar, but Paisley is sure a jeweller can sort it out. For now, it’s a beautiful, antique heirloom that once belonged to someone in her family—until she slips it over her head.

Paisley is still at Thornberry, but not in the present. She’s traveled back in time to the year 1829. It’s both terrifying and exhilarating. As the afternoon wears on, she knows she needs to leave the gathering downstairs, but how? If she manages to get back to the present, will she ever be able to return to the past? She’s learning about time-travel by trial and error, but there are clues. Let’s just hope Paisley can follow them and figure it out.

Image credit: Pixabay

Writers are dedicated, committed, sometimes obsessed individuals. Their creativity seldom gives them a moment’s peace. Some writers work on multiple projects simultaneously, which amps up the pressure to create even more and leaves little, if any, time to just chill a little. So, how does a writer take a break without feeling like they’ve abandoned their work, impatient characters, and unresolved plot? Even if writers can’t completely disconnect, let’s explore some temporary solutions.

A Related Break

Set your work aside and pick up someone else’s—genre’ of your choice. It can be the one you write in or something completely different and new. Get away from your desk/writing space and settle in with someone else’s work. Take a journey organized and orchestrated by someone else. Of course, you don’t want to plagiarize anyone’s work, but you may gain some insight into your own projects as you enjoy reading someone else’s story.

A Different Media

Shut down the computer and turn on the TV. Watch something in your own or completely unrelated genre’ depending on your mood and frame of mind. I have found a genre’ break a welcome respite for my creative mind. On the other hand, if I’m struggling with a particular part of my work-in-progress, it often helps me to watch something in that genre’ to gain insight or clarify something that I’ve been struggling with or have doubts about. I may see a solution that I’m able to translate and customize into my own work.

A Clean Break

Step away from your story and do something completely unrelated to writing, plot-building, or whatever it is that you’re working on. Take a walk, dig in the garden, or pick up that craft project that’s been languishing in the corner. Train your focus on the task at hand, and free up your writing mind to focus on what you’re doing. Shop at the grocery store like it’s your first time or visit a museum or art gallery. Be present wherever you are, whatever you’re doing. Sometimes stepping away brings whatever you’re writing into clear focus.

The length of the breaks you take can be as long or short as you need. Sprinkle them in when the need arises and use them to their fullest potential. When you return to your writing, you may feel those tight wrappings loosen and welcome you back to wherever you left off.

Image credit: Pixabay

When it’s time to name the characters in your story, where do you start? If you’re lucky, one or more may have already told you who they are. What about the rest? Some may be secondary characters or ones that are mentioned only once or twice, but they still need names so readers can picture them in their mind and identify with them. Let’s see what we can do about those blank spaces on your character roster.

Personality Traits

Take a moment and think about the personality of the character in your story. Are they quiet, meek, and soft-spoken? Perhaps a name like Sophie, Charlotte, or Mary would be a good fit. They sound soft and gentle on the tongue when being read. Feisty and outspoken? Try out Talia, Xavia, or Zara. If you want an unexpected twist, give her a name that is the opposite of her character/personality!

Physical Traits

If your character has dark hair, you might think about calling her Raven. But with a little research, you can find something less obvious, like Kerrin or Melanie. They both mean dark without spelling it out. The writer can reveal it (or not) as the story progresses. On the male side, the name Rory means famous leader or red king. Will he have red hair in your story? It’s a great tie-in to consider.

You can take things a step further with your character if you want. Remember Lady Violet in Downton Abbey? Looking back, she wore many costumes that were shades of violet. There are many choices that aren’t as obvious or readily recognizable. Perhaps your character has eyes that reveal his/her name, or they wear a certain gemstone that tells a story about their name and how it came to be.

Symbolism or Family Heritage

Is your character a strong leader? A strong name for a male character (whose name means just that) might be Conn, Duke, or Hank. If you want to associate it with his role in the story, a character who leads an army might do well with the name Harold. The time period of your story may influence your choices—popular names today may not have existed then. Fantasy story? The field is wide open, including made-up names! Still, they should have some significant meaning or something the character can align with.

Perhaps parents did something quirky, like have all of their children’s names start with the same letter: Samuel, Stanley, Sarah, Shelly. Why? What about the parents? Did their names start with S as well? Silas and Seraphina? It might be a fun exploration to figure out why and what the siblings think about it.

Names reveal a lot about the characters who live in your story. Spend some quality time researching, and have fun with the process. There are numerous name, symbolism, and baby name sites on the Internet. Historical records might provide some good choices or a jumping off point. Check them out, think about your own family, and others you may know. Dive in, and see who you come up with!

Image credit: Pixabay

At some point in the life of your story, you’re going to have to write a book blurb. Some writers are convinced that this short description is more challenging than writing an entire novel. How does one condense an 80,000 word story into a 150-250 word teaser? Well, it’s not impossible, and it’s important to try and get it as right as you can—for a number of reasons.

Back Cover Showcase

Your book blurb is an important attention-getter on the back cover of your book. It performs a number of functions for a potential reader. It introduces the main character(s) of your story, reveals a bit about the plot, hints at challenges or threats, and lets the reader know what genre’ the story fits into. What it doesn’t do is tell everything about the story, especially how it ends. Your blurb should grab a reader’s interest, pose questions/thoughts/ideas, and make them want to read your story to see what happens and how it all comes together in the end.

Blurb Readers

Who else needs your book blurb? Well, if you’re submitting your work in a competition/contest, it might be part of your submission packet. Someone interested in interviewing you about your book might ask for one. If you have an agent/publisher, they will want a condensed account of what your book is about. It’s significantly different than a synopsis, which is a summary/enhanced outline of the entire story. A blurb provides some general information, but is also a teaser, an invitation for someone to pick up your book and read it.

Starting Thoughts

It might be helpful to list the story’s main points in a short, bulleted list. Then (ignoring the conclusion) expand a bit on each of them, turning it into a paragraphed narrative until you reach the desired word count. Your bulleted list could read something like this:

Man steals car and crashes itSomeone rescues and hides himRelationship developsStolen car has significanceDiscovery/consequences

Ignoring the last bullet point (which may reveal the conclusion/resolution), the writer can work within the format of the first four to craft a book blurb. The necessary components can be included and enough information provided to entice the reader to want to know more. Along the way, you may discover (or include) a catch phrase or question that will catch a reader’s attention.

Book blurbs are an important glimpse into the world of your story, so it’s worth spending time on and investing in carefully-chosen words and phrases to catch and keep a reader’s attention. Try it out on your beta-readers, workshop members, or fellow readers. Does it make them want to read the book? Ask for honest feedback and consider it carefully. It’s a worthy investment in a story you’ve spent countless hours creating. It deserves nothing less than your best.

Image credit: Pixabay

Writers are pretty much a solitary, dedicated lot, listening to their characters and investing countless hours telling their story. Amidst that fierce determination is the stark realization that writers cannot work non-stop—it may even prove to be counter-productive. So, when is the best time to take a break, and should those breaks be totally unrelated to the craft of writing? Let’s explore some ideas about taking breaks and how they can help a writer become even more productive when they return.

A Stubborn Plot

Step back, take a breath, and never berate yourself for getting stuck. It’s part of the process. Doing something completely unrelated sometimes helps. A change of scenery, location, or activity goes a long way in sorting things out. You don’t have to take an extended vacation; moving to another room, taking a walk, or digging in the garden might be enough to give your brain the rest and diversion it needs.

Visit the Scene

You might be lucky enough to be writing about a scene that you can actually visit. Let’s say your character finds him/herself on the way to the grocery store. Why? You don’t have a clue, but if you’re fortunate enough to be writing a story that has settings you can actually visit, give it a try. Sometimes virtual visits will do the trick (if they’re possible). If you keep your mind open and don’t go there with the sole purpose of finding a solution, chances are it will come to you in some form or another.

Write Something Else

If you can’t stop yourself from writing, write something else. Set the story aside for a bit and write a blog post. Write something completely unrelated to your current work-in-progress—perhaps a poem or a short story. Write about a family memory. Write a letter to someone. If you must write, you’ll be doing something you love while taking a break from your WIP.

A Done Draft

It’s been recommended that once the initial draft of a story is done, you set it aside for about a week before looking at it, revising it, or editing it. For some writers (yours truly included), that’s really hard to do. So, what do we do in the meantime? Well, take some time to congratulate yourself on getting that first draft completed! Maybe a trip to the office supply store for a hard copy to edit when the time comes (no peeking!) is a good idea. Clean and tidy up your workspace so that when editing begins, you’re ready to go. Sometimes I think about an alternative place to start reading/editing my first draft copy. Instead of facing a blank computer monitor, consider a comfy spot on the patio or whatever relaxing space works for you. A different location helps your brain shift from writer to reader as you begin.

Breaks are a vital, necessary part of a writer’s process. They have the ability to inspire, energize, and solve problems you will encounter as you write. Savor them, enjoy them, and use them well.

Image credit: Anne K. Hawkinson

Every story needs details—it’s what helps bring it to life for the reader. Details set stories apart from one another and enable the writer to introduce seemingly insignificant nuggets that may play a major role as the story progresses. The challenge for the writer is to find the acceptable ratio of details to plot without drowning the reader in details. Let’s examine a few pitfalls and see what we can learn from them.

Example: A historical fiction novel features a character who is apprenticing under a gunsmith. War is coming, and the militia must be supplied with arms. The reader should know what kind of gun is being made in that time period and how the soldiers will use them because it may have a significant impact on the outcome of the battle/war. Telling the reader that it’s a musket speaks volumes in just one word. Along with the type of gun, the writer should probably provide information about how long it will take a soldier to reload and what ammunition they need. This may be important when it’s time to write the battle scene, for instance. What they probably don’t need is the type of metal used to make the barrel, the size of the opening, how the gun is constructed, or where the wood for the stock of the gun comes from. The writer needs to sift through the research and incorporate only those details that are vital to the story and keep it moving forward.

Example: You’re writing a story that includes several generations and timelines. Timelines can be tricky! How much of a historical timeline needs to be provided to the reader? Is everything you’re including relevant to the story? Is there a character three generations removed that plays a significant role? If so, then that character needs to be included and a bit of detail of the time period he/she comes from needs to be provided. Characters from those generations who have no role to play will only confuse and frustrate the reader. Leave them (drinking and hunting buddies, for example) out.

Example: Character overload. Introducing too many characters at once can leave a reader’s head spinning. Who’s important and who isn’t? How am I supposed to remember all of these names? Do I need a family tree? If your story needs one, create and place it at the beginning of your story for readers to refer to. If not, ask yourself why you are introducing all of these characters here, now, all at once. A quick mention at a relevant part of a scene may be all that’s needed. If they’re merely providing historical context, that may be all that’s needed. Instead of introducing numerous characters seated around a dining table, consider placing them in different rooms, at different times and give them a memorable role to play in the story. If there’s no place for them, send them on their way (i.e. leave them in your research notes).

Overloading the reader with details runs the risk of your story veering off the rails in several ways. First, it pulls the reader out of the story and immerses them in minute details that have no role to play in the overall story. Second, the story begins to feel like an information dump. Again, it pulls the reader out of the story and they may struggle with trying to figure out what details should be remembered and what can be left behind. The reader is now sifting through the details, which is the writer’s job. Lastly, too much information in one place can make a story of fiction fall into the realm of non-fiction. What started out as a historical fiction story now feels like a chapter in a history textbook.

Do your required research, then do some more. That doesn’t mean all of it needs, or should, end up in your story. As the writer, you need to decide which bits are vital and which can be left behind. Inserting details into strategic parts of the story where the reader needs them will give them more impact, and the reader will remember how important they are.

Image credit: Pixabay

Writers, whether plotters or pantsers, inevitably get stuck somewhere along the way in the creation of their story and struggle to find a way forward. It’s a situation I’m familiar with, and it brought to mind a Robert Burns quote: “The best-laid plans of mice and men often go awry.” So, what’s a writer to do other than stare at the screen like a zombie for hours on end or throw their hands in the air and walk away in frustration? Let’s explore some possible solutions to that dreaded malady some refer to as writer’s block.

Start Before You Stop

When you reach a stopping point, it may be helpful to leave a reminder or idea(s) of what needs to happen next where you leave off so it will be easier to pick up and continue. You may know where the story is going, but your brain has had enough for the day. A few key words or phrases will remind you what’s coming next or what you need to create as you begin again. I type my ideas in all caps at the end of what I’ve just written; they jump out at me so I don’t think it’s part of the narrative of the story.

Here’s an example. As Penny slid the last pan of chocolate chip cookies in the oven, she heard a nearly continuous, persistent fist pounding on the door.

WHO IS IT? HER FRIEND JACKIE OR A STRANGER? THE SAME MAN SHE SAW WHEN SHE WAS LEAVING THE MARKET? DOES SHE FORGET THE COOKIES IN THE OVEN AND THEY BURN? SET THE SMOKE DETECTORS OFF? START A FIRE? COULD BE THE LANDLORD, WANTING THE RENT THAT IS LATE.

Stick With That Scene

You might be in the middle of a scene that appears to be going nowhere. What’s the point? Something is supposed to be happening to move the plot forward, but the scene feels like it’s lost and doesn’t know where to go. Sometimes a deeper dig will solve the problem. Study the scene for clues and/or ideas that help your characters out of that hopeless situation. This approach recently worked for me when I had my character in the attic of a manor house and I had no idea why she was there. I was ready to delete the scene and put her somewhere else, but then I took some time to study the surroundings and explore what opportunities might present themselves. After some thought and digging around, she opened a dusty, old trunk and discovered something inside that will prove very important to the story. The scene was saved, the discovery reminded the reader of a past event, and it moved the plot of the story forward.

Get Up and Leave

Yes, sometimes getting away from the story helps find the solution. Doing something unrelated can clear your mind and open the gateway to the solution you’re seeking. Sometimes a detail or object will become the key in solving the problem and moving your story forward. Keep an open mind to whatever it might be. The first thing your mind might latch onto might not be the solution, but it may lead you to the one you’re seeking. Patience and perseverance are key.

For writers, giving up is not an option. Writers have to write. So, when those uncomfortable, stagnant times appear, consider one or more of these solutions. They may help you forge on ahead; if your characters are stumped, you can help them find their way.

Image credit: Pixabay