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September 2017

New Episode of Women and Fiction -- Melissa Blue talks to Claudia about writing romantic fiction for geeks.

Melissa Blue

Melissa Blue is a prolific author who writes romantic fiction for geeks. In this episode, she talks about writing, being published by a publisher vs. self publishing, as well as the challenges of being a person of color in the all white world of romance fiction publishing. 

Melissa Blue’s writing career started on a typewriter one month after her son was born. This would have been an idyllic situation for a writer if it had been 1985, not 2004. She penned that first contemporary romance, upgraded to a computer and hasn’t looked back since. Outside of writing, Blue works as a mail clerk for the federal government, has a paralegal certificate (that she has more use for as a dust pan) and is a mother of two rambunctious children. She lives in California where the wine is good and, despite popular belief, is not always sunny.

You can find her on her at her website, but Claudia usually finds her at Facebook or Twitter.

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Wednesday Writing Skill -- 5 ways to make your fiction more readable for your distracted audience

5 ways to make your fiction more readable

The world has changed. Your readers have ten things they could be doing besides reading your story. Moreover, you're competing for attention from social media, streaming movies, music on multiple channels, 24-hour news stations, and that's not to mention texts, phone calls, or, oh yeah, actual work. To make matters worse, your readers are exhausted from all the reading they do!

It's amazing that anyone ever reads anything for fun.

Whether you like it or not, your readers are tired, distracted, and bombarded by a lot of stories. If we want people to read our stories, we must be willing to write in a manner which engages them.

What does this mean? To better understand readability, let's take a step back to look at the four types of reading:

  1. Elementary reading is quite literally reading that a student in elementary school can understand.
  2. Inspectional reading is skimming or superficially reading.
  3. Analytical reading is thorough reading.
  4. Syntopical reading is thoughtful, comparative reading.

(Don't panic. Shane Parrish does a great job explaining all of this on his blog, Farnam Street. While you're there, sign up for his free newsletter. You won't be sorry.)

Your readers currently read at a fourth grade reading level. In fact, you're probably reading this at a fourth grade reading level.

If you publish your fiction in an electronic format -- online or even eBook -- most of your readers are reading at less than a fourth grade reading level.

Your readers aren't idiots; they are distracted!

You're probably wondering how your adult, well educated readers could possibly read at such a low level. The reason is very simple: being distracted lowers your IQ.

What's a writer to do?

Here are five ways to make your serial fiction readable.

1. Reintroduce your characters: Trust me. There are days when some of your readers will not remember who any of your characters are or how they fit into your story. Don't leave your readers guessing. Give your readers simple reminders. 

For example:

Janice found her boyfriend, Bryce, standing on the other side of her front door.
Rather than - Janice found Bryce standing on the other side of her front door.

"Jeremiah's going to be here for dinner?" she asked. "I didn't realize he was out of prison."
Rather than - "Jeremiah's going to be here for dinner?" she asked.

Regardless of how central you believe your character is to your story, practice reminding your readers who they are. The longer your story, serial fiction, series, or novel is the more necessary this becomes. It's not hard or intrusive to the story to simply add in a few word identifier for characters when they pop up. Your readers will thank you.

It's a good practice to help cement your characters in your readers' minds.

2. Limit your use of pronouns: This feels clunky when you're writing and editing. However, your reader will quickly loose track of the "she" in "she said." Use your character's name.

When we read in electronic form, the last chapter or paragraph is gone from our line of sight. This means that we only bring to each new paragraph that which we remember or have right in front us. In most cases, that's very little information.

Go through your story and replace at least half of the pronouns with the character's name. Your story will read a lot better.

3. Short sentences rule! 14 words.  That's the number of words in a sentence that's understood by 90% of people. 8 word sentences are understood by 100% of people. That's right. You have between 8 and 14 words to get your point across

Short sentence feel weird to write and edit, especially in fiction. Your reader will never notice.

There is a limitation with short sentences if you publishing with Smashwords. There is a bug in the Smashwords "meat grinder" program. The program trips on too many short paragraphs (i.e., short sentence dialogue.) At this writing, they have not found a way to fix this error. You can still publish your work there by post your story in ePub format instead of Microsoft doc format. So if you get a weirdo error, just bump your story up in ePub.

4. Keep it simple. I'm not saying you should dumb down your story. Please do make your story have as many complications, twists, and turns as possible. You simply can't get there all at once.

Keep your individual scenes simple and to the point. You want to get from here to there? Write a scene about right here. The next few scenes should be about somewhere between here and there. And sometime later you'll be there.

Your distracted reader will have a better comprehension of four short scenes than one long, complicated scene.

5. Put the sentence you want your readers to read at the start of a paragraph. Because people read up and down in electronic format, their eyes catch the first sentence of every paragraph. This means that their brains overemphasize the importance of this sentence. This is particularly true for single sentence paragraphs.

This means that single sentence paragraph, like this one, are more likely to be read.

Make sure you use them for what you want your reader to know.

Writing for distracted people takes a lot of intelligence, patience, and practice. If you want to be a successful author in 2015, you need to create readable work for distracted people. Because let's face it -- everyone is distracted now.

-- Claudia Hall Christian for Women and Fiction 


Wednesday Writing Skills -- Multiple Narrators

We're starting a new feature here at Women and Fiction -- Wednesday Writing Skills. Every Wednesday, we'll share an interesting article from around the internet or an original writing article from Women and Fiction. 

Every character wants to share their point of view. Who do you choose?

 

This week, we share  a writing skills article by Alinda Winternheimer on the topic of Multiple Narrators.

Have you ever been reading along in your book and suddenly noticed a shift in perspective? Who are you following? Who is talking now? This is one of the downfalls of using multiple narrators. 

Ms. Winternheimer outlines four reasons not to use multiple narrators:

This is why most people write with a single perspective. The problem is that some stories require multiple perspectives. For example, sometimes your character is in a coma. If you're only following her perspective, there might not be a lot going on there. If you're writing a classic romantic misunderstanding, you will lose the dynamic tension if you don't include the perspective from both the misunderstood and the betrayed. 

Ms. Winternheimer solves perspective in two ways.

  • First, she encourages you to create a clear protagonist. Make sure your reader knows who the star of the story. When you have multiple points of view, the reader can easily lose the star of the show. 

  • Secondly, she encourages you to create a casting hierarchy. Think of it this way -- who would win the award for Best Actor and who would get the Best Supporting Actor award? Ms. Winternheimer suggests:

    You might decide rank based on:
    • How long the character lasts in the story
    • How crucial a role he fulfills
    • How much readers like, or are expected to like, him
    • How necessary he is to the forward movement of the plot

The hardest thing about this advice is that it requires the author to plan ahead. This is easy work for people who are planners but for people who write by the seat of their pants, it's not so simple. 

In either case, the key is to think about what makes for the best, most dynamic story. That can require setting aside the manuscript for a while. After a month or so, you'll have fresher eyes and be able to think through things like what is your casting hierarchy.

If you'd like to learn about becoming an author, there's a lot of great practical "How To" articles at K. M. Weiland's site Helping Writers become Authors. Alinda Winternheimer is a writing coach. She can be found at her website or at Twitter