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Hanging by the Fingernails: Writing Cliffhangers

by Chris Eboch


AdvancedPlotting200

Several years ago I ghostwrote a novel about a well-known girl sleuth. The series used cliffhanger chapter endings. That seemed easy enough—find a dramatic moment and end the chapter.

Turns out writing strong cliffhangers is trickier than that. The editor responded to my effort with this comment: “I would like to see more of a slow build-up toward the intense action. In horror movies, it’s always the ominous music and the main character slowly opening the closet door that scares us the most, not the moment right after she opens the door.”

She’s noting the difference between suspense and surprise.

When something happens suddenly and unexpectedly, that’s a surprise. If you’re walking down the street and something falls onto your head, you’ll be surprised. But since the surprise came out of nowhere, it wasn’t suspenseful.

When writing, we may be tempted to keep secrets and then let them out—bang! But suspense comes from suspecting that something will happen and worrying about it or anticipating it.

To build up dramatic chapter endings, give the reader clues that something bad—or excitingly good—is happening. Here’s an example from Haunted: The Ghost on the Stairs, a novel for ages 8 to 12. The narrator, Jon, isn’t sure he believes his sister Tania saw a ghost, but goes with her to look as their stepfather films his ghost hunter TV show.

At the top of the stairs, my stepfather stood in the glare of a spotlight, a few feet away from a camera. I took a step backward and tugged at Tania’s arm. No one had seen us yet, and we could still escape.Tania turned to me. The look in her eyes made my stomach flip.The moment isn’t bad for a cliffhanger, but it needs more buildup. Here’s the published version:

At the top of the stairs, my stepfather stood in the glare of a spotlight, a few feet away from a camera. I took a step backward and tugged at Tania’s arm. No one had seen us yet, and we could still escape.She didn’t back up. She swayed.I took a quick step forward and put my arm around her so she wouldn’t fall. I looked down into her face. I’d never seen anyone so white. White as death. Or white as a ghost.“Tania,” I whispered. I gave her a shake. She took a quick breath and dragged her eyes away from the staircase and to my face. The look in them made my stomach flip.To get the most out of dramatic moments, you actually slow the pace by using more detail. Focus on sensory details with emotional impact.

Powerful Paragraphing

Long paragraphs are fine for description. Short paragraphs are best for action, because the eye moves more quickly down the page, making the story read faster. You can also emphasize an important sentence by putting that sentence into a paragraph by itself. Compare these examples:

Version 1:

My car picked up speed as it rolled down the steep hill. The light at the bottom turned yellow so I stepped on the brakes. The car didn’t slow down. The light turned red as I pressed harder, leaning back in my seat, using my whole leg to force the brake pedal toward the floor. I sped toward the intersection while other cars entered from the sides. I sailed into the intersection, horns blaring and brakes squealing around me as I passed within inches of two cars coming from each side.Version 2:

My car picked up speed as it rolled down the steep hill. The light at the bottom turned yellow.I stepped on the brakes. The car didn’t slow down.The light turned red.I pressed harder, leaning back in my seat, using my whole leg to force the brake pedal toward the floor.I sped toward the intersection. Other cars entered from the sides.I sailed into the intersection. Horns blared and brakes squealed around me.I passed within inches of two cars coming from each side.These use nearly the same words, but in the second version I broke up long sentences, and I used seven paragraphs instead of one. The second version better captures the narrator’s breathless panic.

You can have dramatic chapter endings even if the characters aren’t in physical danger. In a young adult romance, for example, the drama may come from social humiliation at school and awkward or exciting moments with the love interest. Play up those moments for maximum effect.

Not every chapter has to end with a major cliffhanger. You can end in a quieter moment, as long as you’re still looking forward, reminding the reader that the character’s troubles are not over.

Cliffhangers are a powerful tool to build suspense. Choose a dramatic moment and expand the moment with sensory details for drama. You’ll keep readers turning the page.


BanditsPeak150Chris Eboch writes fiction and nonfiction for all ages. In Bandits Peak, a teenage boy meets strangers hiding on the mountains and gets drawn into their crimes, until he risks his life to expose them. The Eyes of Pharaoh is an action-packed mystery set in ancient Egypt. The Genie’s Gift is an Arabian Nights-inspired fantasy adventure. In The Well of Sacrifice, a Mayan girl in ninth-century Guatemala rebels against the High Priest who sacrifices anyone challenging his power. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog. Sign up for her Workshop newsletter for classes and critique offers.

Chris also writes novels of suspense and romance for adults under the name Kris Bock; read excerpts at www.krisbock.com.


This article was originally published in the August 2011 issue of SouthWest Sage and is reprinted here by permission of the author.




Connecting at Writing Conferences

by Chris Eboch


AdvancedPlotting200

Writers mainly work alone, so a conference can be a great chance to meet peers, feel connected to the industry, learn more about the craft and business, and maybe even develop a relationship with an editor or agent. So let’s talk about making the most of your conference time.

When people hear the word “networking,” most imagine trying to impress bigwigs who could help their career. But many writers don’t feel comfortable selling themselves. If your goal at a conference is to grab an editor and convince her you’re wonderful, you’ll feel anxious. And if you fail to wow—or even meet—the editor, you may feel like a failure.

Instead, think of networking as making friends. During her first major conference, children’s book writer and illustrator Holly Cupala decided to “think about making connections with people who share a love of children’s literature—future friends rather than future contacts.” During the four-day conference, she talked with dozens of people, including many of the famous speakers. She says, “I chatted with people I never would have dreamed of walking up to if I was in ‘networking’ mode. I connected with people by being open and letting go of expectations.”

Talk to everyone, from beginners to the pros. You never know who might be fascinating—or helpful in the future. Today’s “nobody” may be tomorrow’s success story, on a first-name basis with top editors and agents. Even better, he or she may be interesting and fun.

Ready, Set …
Armed with the proper attitude, you’re sure to have a good time. Get even more out of the conference by planning ahead.

Read books to learn the basics—how the publishing industry works, standard submission guidelines, the genres—so you won’t be confused when speakers throw around industry terms. You can also direct your questions better, to take advantage of a particular speaker’s expertise.

Next, investigate the conference speakers. Review editors’ submission guidelines and study the books they’ve edited. Read books by the other speakers. Be prepared to offer honest compliments of their work or to ask intelligent questions. Then you won’t go blank when you’re suddenly faced with your idol. The web is a great place to find articles by or about the speakers.

Prepare for opportunities by practicing one-sentence synopses of your manuscripts. You don’t want to ramble and stammer when someone—especially an agent or editor—asks what you’re working on. If they don’t ask, don’t be pushy, but try asking them what they want. According to children’s book author Shirley Raye Redmond, “I sold my very first juvenile novel (Grampa and the Ghost) by simply asking the editor what she was looking for. She told me and I said, ‘I think I have something you might like.’”

When you meet someone, it’s nice to have an official way to exchange information, so get business cards (you can order them online inexpensively).

Go!
On conference day, arrive early and practice your networking—or friendship—skills. Smile, say hello, and ask a simple question. Take an interest in people. Ask what they write. Offer compliments, ask questions, and listen. When I’m feeling shy and alone, I find someone who looks even more shy and alone. I walk up to them, smile, and say, “How are you enjoying the conference?” They are always delighted to talk.

It can be easier to pair up with a friend for the conference, but be careful not to spend your whole time with just one person. After all, your goal is to make new connections, so work together to meet people. Go to different workshops and share notes.

When you exchange business cards, jot notes about the giver on the ones you get. You might write something like, “2011 SWW. 40s, short brown hair. Writing sci fi.” Then when you get back from the conference with a handful of cards, you’ll find it much easier to remember who gave them to you.

The Finish Line
All that hard work only pays off if you follow-up. Write “nice to meet you” notes to people who gave you their business cards. Thank anyone who gave you advice. Type up your notes while they’re fresh in your mind. A few jotted phrases that made perfect sense during an inspiring talk can read like hieroglyphics a month later.

Then set some goals based on what you learned. A good conference may provide you with dozens of pages of advice and ideas. Don’t try to do everything at once, or worse, ignore it all because you feel overwhelmed. Instead, choose three things to focus on. They might involve craft, research, or marketing. Review your notes in a few months and set new goals.

Finally, critique the conference. Think about the workshops, speakers, events, other attendees, and your own behavior. Was it worth your time? How can you prepare better for next time? Make notes to review before your next conference, so that one will be even better.


BanditsPeak150Chris Eboch writes fiction and nonfiction for all ages. In Bandits Peak, a teenage boy meets strangers hiding on the mountains and gets drawn into their crimes, until he risks his life to expose them. The Eyes of Pharaoh is an action-packed mystery set in ancient Egypt. The Genie’s Gift is an Arabian Nights-inspired fantasy adventure. In The Well of Sacrifice, a Mayan girl in ninth-century Guatemala rebels against the High Priest who sacrifices anyone challenging his power. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog. Sign up for her Workshop newsletter for classes and critique offers.

Chris also writes novels of suspense and romance for adults under the name Kris Bock; read excerpts at www.krisbock.com.


This article was originally published in the September 2011 issue of SouthWest Sage and is reprinted here by permission of the author.




Writing Fiction: The Promise of the First Chapter

by Chris Eboch


AdvancedPlotting200

Your opening makes a promise about the rest of the story, article, or book. It tells readers what to expect, setting the stage for the rest of the story to unfold—and hopefully hooking their interest.

Genre
The first scene should identify your story’s genre. This can be trickier than it sounds. Say it’s a romance, but the main character doesn’t meet the love interest until later. Can you at least suggest her loneliness or desire for romance? (And get that love interest in there as soon as possible!)

Maybe you’re writing a story involving magic, time travel, ghosts, or a step into another dimension, but you want to show the normal world before you shift into fantasy. That’s fine, but if we start reading about a realistic modern setting and then halfway through magic comes out of nowhere, you’ll surprise your reader—and not in a good way. Your story will feel like two different stories clumsily stitched together.

If you’re going to start “normal” and later introduce an element like magic or aliens, try to hint at what’s to come. Maybe the main character is wishing that magic existed—that’s enough to prepare the reader. In my novel The Ghost on the Stairs, we don’t find out that the narrator’s sister has seen a ghost until the end of chapter 2. But on the opening page, she comments that the hotel “looks haunted” and is “spooky.” Those words suggest that a ghost story may be coming. That’s enough to prep the reader. (The title doesn’t hurt either.)

Setting
Your opening should also identify the story’s setting. This includes when and where we are, if it’s historical or set in another country or world. Once again, you don’t want your reader to assume a modern story and then discover halfway through that it’s actually a historical setting. They’ll blame you for their confusion. In a contemporary story, you may not identify a specific city, but the reader should have a feel for whether this is inner-city, small-town, suburban, or whatever.

Who and What’s Up
Your opening pages should focus on your main character. You may find exceptions to this rule, but your readers will assume that whoever is prominent in the opening pages is the MC. Switching can cause confusion. You should also establish your point of view early. If you’ll be switching points of view, don’t wait too long to make the first switch. In novels, typically you want to show your alternate point of view in the second chapter and then switch back and forth with some kind of regular rhythm.

And of course, you want some kind of challenge or conflict in your opening. This doesn’t have to be the main plot problem—you may need additional setup before your main character takes on that challenge or even knows about it. But try to make sure that your opening problem relates to the main problem. It may even lead to it.

In The Ghost on the Stairs, Tania faints at the end of chapter 1. Jon does not yet know why, but this opening problem leads to the main problem—she’d seen a ghost. If I’d used an entirely different opening problem, say stress with their new stepfather, that would have suggested a family drama, not a paranormal adventure.

The Fast Start
So an opening introduces many elements of the story. Yet you can’t take too long to set the scene, or your readers may lose interest. You want to start in a moment of action, where something is changing, and cut the background. But don’t rush things—take a little time to set up the situation, so it makes sense and we care about the characters and what’s happening to them.

Fast, but not too fast. How do you find the balance?
You can test your opening by seeing how much you can cut. What if you delete the first sentence, the first paragraph, the first page? Does the story still make sense? Does it get off to a faster start? For a novel, what if you cut the whole first chapter, or several chapters? If you can’t cut, can you condense?

On the other hand, if your beginning feels confusing or rushed, you might want to start earlier in the story. Try setting up a small problem that grabs the reader’s attention, luring them in until you can get to the main problem. In my novel, The Well of Sacrifice, the Maya are dealing with famine, disease, and marauders in the early chapters, even before the king dies and an evil high priest tries to take over. That gives readers time to understand these characters and their unusual world.

Don’t stress about the opening during your early drafts, but do make sure you fix it later. Keep in mind that fixing it may involve throwing it out altogether and replacing it with something else or simply starting later in the story. In the end, you’ll have the beginning you need.


BanditsPeak150Chris Eboch writes fiction and nonfiction for all ages. In Bandits Peak, a teenage boy meets strangers hiding on the mountains and gets drawn into their crimes, until he risks his life to expose them. The Eyes of Pharaoh is an action-packed mystery set in ancient Egypt. The Genie’s Gift is an Arabian Nights-inspired fantasy adventure. In The Well of Sacrifice, a Mayan girl in ninth-century Guatemala rebels against the High Priest who sacrifices anyone challenging his power. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting.

Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog. Sign up for her Workshop newsletter for classes and critique offers.

Chris also writes novels of suspense and romance for adults under the name Kris Bock; read excerpts at www.krisbock.com.


This article was originally published in the October 2011 issue of SouthWest Sage and is reprinted here by permission of the author.




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