Pending Endings

Have you ever read a story that was well navigated all the way through . . . until you got to the ending? Like it was written by some space alien rather than the person whose name is on the cover? Or like there were fifteen alternate endings brainstormed by a group of people, and the author threw a dart to choose which one to use? Tough luck the dart should stick in the worst possible choice.

I really want to write the best ending ever written. I'm not there yet, but it doesn't stop me from wanting to make sure it's a zinger.

Satisfying is good. But satisfying isn't great unless it's also memorable. I figure memorable is pretty important for a couple of reasons.

First, there are hardly any endings I remember and that bothers me. The one I remember easily, I remember because it was supremely UNsatisfying. Not what I'm going for.

Second, I want my reader to be just as enthralled with my ending as they were with my beginning and middle. I want them to decide I'm an author worth reading again.

In any genre, but especially in suspense, the ending doesn't necessarily have to be happy. But it should make sense and not feel gimmicky or contrived.

Some suspense novelists leave loose ends in hopes (I suspect) that people will run out and buy their next book. I don't like that. There can be relationship questions, but don't leave me with an unfinished story. Even in a series, each book should be able to stand alone.

Here's hoping that when the time comes, I can hone an ending of memorable strength and satisfaction. I don't want it to go on for pages and pages, but neither do I want it to be a couple of sentences strung together that I HOPE people will forget.





What I'm reading: The Overlook by Michael Connelly.

It's all better with friends.

Characters We Care About

We don't need to love them, but we do need to feel like we know them. We need to understand what makes them tick, and we need to identify with them enough to care about what happens to them.

Think about the characters in the book you're reading right now. Do they have imperfections to add dimension and make them real? Can you imagine what they're doing when you close the cover of the book and clean the kitchen?

Are there lines you don't want to cross that might take a character from fabulously flawed to pompously pathetic?

We know we want our protagonists to be strong, but strength without vulnerability is tyrannical. And a character without weakness is hard to cheer for. After all, they can't lose.

And in fiction, they have to be able to lose.

Here are a couple of ideas on ways to flesh out a two-dimensional character into something a bit more memorable (I'm sure there are more and I'd love to hear them):

· Vulnerability Know the physical or emotional soft spot that is intimately tied to your character. You don't need to go into it ad nauseam with backstory, but showing vulnerable sides will help make your character more human. Think about fear, regret, guilt, sadness, failures, etc.

· Desire Your character has to have something at stake. The more they want something, the more we like them. Desperate desire is even more compelling than whether or not they ever achieve what they're after. A specific, tangible, understandable goal keeps a reader engaged . . . especially when they're thwarted time after time.

· First Person Take your main characters and write a first person character study. Phillip McGraw (Dr. Phil) wrote a book called Self Matters, and although I admit to never finishing this bestseller, it does provide some interesting character development ideas. What are the ten most defining moments of your character's life? What have (up until now) been the seven most critical choices they've made to get them where they are? Who are the five most important people in their life and how have they been shaped by those five people?

· Quirk Be careful not to go overboard with this one, but do they have a favorite phrase? A funny habit? An object to which they attach great emotion? And odd hobby or a physical reaction to stress?

· Pressure Apply powerful pressure and don't let up. The ticking clock gets louder and they have no choice but to take action, even if that's the last thing they'd ever want to do.

These are just a few ideas. What sorts of things connect you to a character? Are they universal?

It's all better with friends.

Music

You have absolutely GOTTA check this out . . . William Joseph. If he wasn't young enough to be my son . . . sheesh . . . grandson??? . . . I would be a groupie in the WORST way.

If you can't get to the emotion and passion of the first song, forget it. The second song (and he doesn't just give you snippets . . . you get the entire song) is what I will play when I write a climactic scene.

I had to order the CD.

What do you think???

It's all better with friends.

Novel Logs

I've been reading about keeping a novel log. It doesn't require anything more than a notebook and a pen. Oh, and that commitment thing.

It's kind of like a diary of your book, starting with your characters and setting. Plot points and other notations. Then you decide how many words you're going to write each day for two weeks. Be realistic. Be specific. What scene will you write that day? What are the key elements? Date your daily entries so you can easily find your newest thoughts and progress made.

When you start the detailed character part of your novel log, use words to describe them. Is there another fictional character they're like? Are they a combination of real people you know?

I already keep a list of my scenes. It's helpful to know which one I have to tweak because I've changed something somewhere else. Or a read-through has pointed up a loose thread or weak plot line. A type of scene list would be a wonderful addition to your novel log from the very beginning.

A quick reference area for research sources would be handy. Anything else?

All in one little notebook.

But then there's that commitment thig. I've been working hard trying to keep one of those 10-year journals. This is my first year and I already missed quite a few days after my mom died.

I want to try this novel log thing, but will I? It feels a little late for the one I'm working on now, but . . .

It's all better with friends.

Convenient, isn't it?

Have you ever enjoyed a mystery or suspense novel for the most part, but in the end were a bit ticked off because the author never explained how the main character got the big idea as to how to solve the case?

After reading several glowing comments for a particular author, I decided I'd head to the library and see what all the fuss was about. They didn't have the first book in his series, so I had to start with the second.

I enjoyed his style, the story and characters were interesting, but there were two issues that left me unsatisfied when I finished. I even went back to re-read and make sure I hadn't missed something.

The first didn't impact the plot in the least, it just took me out of the story for a bit. I suspect something else had been changed at one point and the single little statement that remained was more of an editorial issue.

But the second? What in the world gave the protagonist the idea to head back to this group of cabins and their occupants? He'd already been there. Am I that stupid?

I'm willing to give this guy one more chance, and would be more than happy to write off the convenient plotting to this just being his second book—and an editor who wasn't paying attention.

Have you ever quit reading an otherwise good author because they were lazy?

It's all better with friends.

Good is in the Detail

Generalities are scene killers.

Some mountains were ahead of them.

Whoa. Stop. This is where the novelist can combine chosen facts with the five senses. You don't need to hit your reader over the head with information, but selective details will help put them in the scene.

What do you see in this picture? What do you smell? How hard would it be to find out the name of a couple of those wild flowers? What's the name of the mountain range? From where, geographically are you standing? Can you hear the water falling ahead? Does any of the mist hit your face?

Which character is in this scene? Why? Are they wearing hiking boots (don't be afraid to name a brand) or are they in sandals with dirt and rocks making it painful to walk?

If your scene is important enough to be included in your story, it's important enough for a little detail. But make the detail, the paragraph, and the scene have consequence. Make something happen. Link the scene to the plot to the motivation to the character.

Have you ever skimmed paragraphs? I have. I think one reason is because I can't see anything in them that matters. Not enough detail gives me the impression the words and therefore the scene, aren't important. Too much detail that goes on and on, and I wonder if it's really necessary for me to read it all.

It's all better with friends.

What Do You Do When the Well Runs Dry?

One of the most prolific writers I know has admitted she's not written anything new lately.

Other than hiding out in the throne room until this spell passes (sorry), what's a writer to do?

If you're not under contract, give yourself permission to Not Write. Let it go. This idea rides gunshot to that old theory about women who are having a tough time getting pregnant. Once that woman lets go and decides to adopt, well . . . you've heard it before. The important thing is not to beat yourself up. Go to a movie instead.

Having said that, here's what happens to me if I'm away from writing too long. Fear seeps in and floods my being. Confidence is eroded and I can't imagine ever accomplishing a thing. Sound familiar? Be gentle with yourself, but don't stay away too long. Nudge yourself—with tenderness—to the place where bichoking is all you want to do.

Some Nudges:

When I read about the craft of writing I get itchy to write. That's often enough to stir up something in my head.

Take an existing or new character and write in first person. A character study. I like to observe someone in real life and make up their story.

Write a poem. Effortless, flowing, fabulous writing is grounded in poetry.

Write about not writing.

Create an amazing setting for the type of story you want to write. Urban? Rural? A high rise or isolated cabin?

Take your laptop, or your notepad and pen, to the library. Breathe in all of those words and ideas that float free in the air. Or hustle your bustle to some other location that works for you.

Write a letter to your great-great-great-great grandchild. What do you want them to know about you and your life?

I'd love to hear some other ideas for dealing with this malady.

It's all better with friends.