Write Now Editing

How to Write a Swoon-Worthy Sweet Romance Novel by Victorine E. Lieske (book review)

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Romance novels aren’t like other genres and hitting all the things that romance readers want can be tricky. How do you make your readers believe your characters are falling in love? How do you show that sizzle of attraction?

How do you write a good kissing scene? How do you bring in the much-needed tension but still have your characters flirting and getting closer?

In this book I take one of my romance novels (Acting Married) and I go through the entire novel with you, basically interrupting myself to tell you what I was thinking as I was writing the novel. It’s like watching a movie with commentary. I pull back the curtain so you can see why I started it the way I did, why I decided to put certain scenes in, and what pushes the romance forward in the book.

I preface all this with what I consider the essentials of a good romance novel, and I end with my list of well-loved romance tropes that you can draw from in order to write your own bestselling romance novel.

On my continuing quest to learn everything I can about writing and editing romance and women’s fiction, I picked up this book without knowing anything about the author. It was NOT what I’d expected, but it’s a great book.

This is NOT your typical craft book. Lieske only gives 25 pages of description regarding the romance genre (meet cut, attraction, repelling, dark moment, etc.). Then, there are a few pages at the end of the book where she lists and explains a bunch of romance tropes. The rest of the 320+ pages are actually her novel (Acting Married) which she interrupts to point out all of the things she described in the first 25 pages. She not only points out moments of subtext, she explains why she put it in that spot. It’s very much a hands-on learning experience.

If you’re looking for a how-to-write-fiction book, this isn’t for you. If, however, you have a good understanding of fiction-writing basics (showing; voice; characterization; pacing), this book is excellent for showing you how to take the fundamentals and put them into a romance novel. If you’re interested in writing romance, I highly recommend this book.

Rate PG for some drinking. Get your copy here!

The Story Equation by Susan May Warren (book review)

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Discover The Story Equation!

One question can unlock your entire story! Are you struggling to build a riveting plot? Layered characters? How about fortify that saggy middle? Create that powerful ending?

You can build an entire book by asking one powerful question, and then plugging it into an “equation” that makes your plot and characters come to life. You’ll learn how to build the external and internal journey of your characters, create a theme, build story and scene tension, create the character change journey and even pitch and market your story. All with one amazing question.

Learn:

The amazing trick to creating unforgettable, compelling characters that epic movies use!
How to create riveting tension to keep the story driving from chapter to chapter
The easy solution to plotting the middle of your novel
The one element every story needs to keep a reader up all night
How to craft an ending that makes your reader say to their friends, “Oh, you have to read this book!”

Using the powerful technique that has created over fifty RITA, Christy and Carol award-winning, best-selling novels, Susan May Warren will show novelists how to utilize The Story Equation to create the best story they’ve ever written.

I’ve heard a lot of good things about this book and have been looking forward to reading it. I was especially excited because of the length — it’s a short read.

Here’s the good about it: lots of great information. I love how Warren breaks everything down and helps you identify so many elements of good fiction. It’s definitely worth reading.

Here’s the not so good: I found this book to be really confusing. As a left-brained lover of math, I actually expected there to be an equation here. You know: A2 + B2 = C2 kind of thing. This is more like, I’ll teach you how to get to C2 with X, Y, and Z, which make up A2, but only after G, H, I (which is part of L) and then B2 comes together and we layer it all with 4, 5, 6, 7. Viola! It’s not so much a story equation as it is a mind map of sorts. If you go into it expecting an equation, it can be frustrating and confusing.

As is, I’m planning on applying everything I’ve read to my next manuscript, but first I need to organize the information (as I did find it hard to follow).

Yes, I recommend this book and will use the info in it, but I did find it hard to follow. This might not be the case for everyone though. Get your copy here!

Troubleshooting Your Novel: 100 Incredibly Practical Ways to Fix Your Fiction by Steven James (book review)

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Take your story to the next level of excellence!

You’ve completed the first draft of your novel–now what? Chances are, it’s not perfect…at least not yet. In order to increase your chances of getting a literary agent, selling your manuscript to a publisher, or garnering an audience for your self-published work, you need targeted, practical instruction on tackling the problem areas and weak spots in your story. You need Troubleshooting Your Novel.

In this hand-on, easy-to-use guide, award-winning author Steven James provides helpful techniques and checklists, timesaving tricks of the trade, and hundreds of questions for manuscript analysis and revision. You’ll learn how to:
ADJUST elements of story progression, from causality, tension, and setbacks to plot twists, climaxes, and endings.
DEVELOP authentic, riveting characters by exploring their attitudes, desires, beliefs, and more.
LEARN narrative techniques for elements such as dialogue, flashbacks, suspense, voice, subtext, and flow.
ENSURE reader engagement by aligning with their expectations, fulfilling promises, and instilling trust.
CHECK issues with context and continuity.
You owe your book more than just a polish and a proofread. Strengthen your story, prepare it for the marketplace, and make it the best it can be with Troubleshooting Your Novel.

Wow — there is a LOT of information in this book. In fact, it’s a bit overwhelming. I sat down to read it thinking it would be a quick read to reinforce what I already know about writing fiction, but it’s anything but quick. There’s a lot to read and digest.

Two things really stood out to me: one that I like and one that I wasn’t so crazy about.

What I liked: the chapters are short and topical, so you can pretty much search for whatever’s bothering you/whatever you’re struggling with and quickly find the chapter.

What I wasn’t so crazy about: there’s some great info, but no examples. I’m the type of learner who needs an example of what’s wrong and what’s right so I can see how to correct it, but there are no examples. For people like me, this book might not be the most helpful resource: you need to know how to identify bad writing before you pick up this book, otherwise you won’t know what to look for. That will be hard to do for some people; however, if you have someone to tell you your weaknesses, you can find the right topic for what you need.

Overall, though, it’s full of excellent information; it just may not be easily accessible for everyone. Get your copy here!

Omniscient or Third Person POV?

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The omniscient POV (point-of-view) is making a comeback! The thing is, I don’t think it’s intentional. And most of the time, it’s not very good. When it comes to genre fiction, especially character-driven fiction, third person is a better option because it strengthens the reader-character connection.

I edit a lot of character-driven fiction (romance and women’s fiction specifically), so I see a lot of authors who think they’re writing third person POV, but they’re actually writing a bad version of the omniscient POV (or a bad version of third person, however you want to crack that nut). There are three main indicators that you’re writing in bad omniscient/third person. First, let’s take a look at the differences, then we’ll look at the problem.

Omniscient Point-of-View

Sometimes called the “narrator,” this is an all-seeing POV, knowing the inner workings of all the characters and able to tell what’s happening in different places at the same time. This POV lets the reader see everything but from a distance.

Most of the classical literature you read in high school and college was written in omniscient, but today’s audiences want deeper connections with the main characters. You can’t get that with omniscient because it’s a shallow, superficial look at everything. For most of today’s genre fiction, the preferred POV is third.

Third Person Point-of-View

This POV lets the author show the story from the viewpoint of one or more characters. Third-person gets into the head of each scene’s POV character, showing everything as they experience it. The reader doesn’t get to see anyone else’s thoughts or emotions until there’s a scene break and the book switches to a different character’s POV.

Because third person POV gets into the head of the scene’s POV character—showing what that person sees, hears, thinks, fears, etc.—the reader can connect with the characters because she experiences the story at the same time and in the same way as the POV character.

Bad Omniscient/Bad Third Person POV

These are the three most common mistakes I see with third-person POV. Some authors try to recover by calling it omniscient, but that still doesn’t work. Let’s pretend like we’re editing a romance novel. The genre standard (and expectation) is third person POV with two POV characters: the hero and the heroine. Here’s what usually happens:

  • Head hopping. Instead of staying in the hero or heroines POV, the author show’s everyone’s reactions in one scene. We see how the friend, neighbors, and parents think and feel about the situation. That’s called head hopping—instead of staying in one character’s POV, you hop into the head of every character.
  • Same voice. Regardless of which character dominates the scene, all of the descriptions sound the same. When the barista, poet, mechanic, and insurance adjuster all marvel at the mountain’s majesty and use similar phrases and words to describe life and their setting, then the narrator’s voice has taken over and is imposing her own thoughts onto the characters.

On their own, #1 and #2 could be omniscient, but not when you add #3.

  • Focusing on specific characters. When 90% of the book focuses on the hero’s and heroine’s current story with only 10% of it hopping into the heads of other minor characters, then the book isn’t really in omniscient. It’s third-person with some errors.

Most authors I speak with or work with are actually trying for third person, but when they hop heads or create vivid descriptions that they don’t want to cut, they often think that maybe they’re writing in omniscient instead. They aren’t. They’re simply writing third person with some POV issues. Instead of trying to hide third-person POV mistakes behind a veil of bad omniscient POV, you’re better off fixing the mistakes and writing your story in strong third person (unless, of course, you really want to write in omniscient—then make sure you’re not slipping into third person).

Not sure which POV to use? Most genre fiction (romance, mystery, suspense, etc.) uses either third-person or first-person point-of-view. My recommendation: leave omniscient for literary or general fiction.

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5 Ways Realism Ruins Good Fiction

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Let’s be honest—unless it’s vital to a plot, most people don’t want to read about a character’s bowel movements, mouthy kids, or hangnails. Often authors include mundane details to make their characters seem more realistic, but that realism doesn’t always come across well in books. Today we’re going to quickly look at five things you can reduce/eliminate from your manuscript to help strengthen your story.

  1. Small talk. If you were raised before cell phones, your calls probably started like this:
    “Hello, this is the Van Burens.”
    “Hi, is your mom there?”
    “May I ask who’s calling?”
    “Mr. Smith from the insurance agency.”
    “One moment, please.”
    It’s polite and informative, but in a book, it takes up too much space and slows down the story. You don’t necessarily want your characters to be rude, but you don’t need a hello/goodbye in every conversation either. And unless the weather is important to the plot, you don’t need to show people discussing it.
  2. Introspection. Most people overthink things, be it every decision they make or only those related to a specific subject. That’s normal. But it doesn’t work well in books. It’s okay—even expected—to have characters reflect on situations, but after they do it once, move on. You don’t need to remind your readers over and over again of a character’s ideas, nor do you need to show the characters thinking about every situation they experience. When you repeat thoughts/scenes/reactions, you give readers a reason to skip pages. Once they start to skip, they’ll keep skipping (so don’t give them a reason).
  3. Well, so, okay, etc. Just because people say it in real life doesn’t mean it needs to appear in your dialogue. It’s amazing how many times well and so appear in manuscripts when authors start their sentences with them—they can show up hundreds of times! That’s a lot of words that could be used to show something more important to the plot. The same is true for filler words such as like, okay, um, uh-huh. Leaving them out won’t make the dialogue feel unnatural but including too many of them will slow the pace and stand out as unnecessary.
  4. Step-by-step instructions. Every morning I wake up, let the dogs out, feed them, pack my husband’s lunch, then start breakfast. Not many people care, and they shouldn’t. It’s boring. So is explaining how to put the key in the ignition, start the car, throw it into reverse, pull out of the driveway, and slide it into drive before heading into town. Whether we want to or not, we live orderly lives—you often can’t do one thing (drive into town) without doing another thing first (starting the car). Readers don’t need to see each of those steps though. If it’s important to show a character’s nighttime routine, show it once. Then trust your reader to remember it and move on to other important details of the story.
  5. Repetition. Similar to #4 but slightly different, readers don’t need to see character repeating themselves. Yes, we’ve all had experiences where we had to tell the same story over and over again, but you don’t want to do that on the page. Remember #2? When you start repeating things, readers are tempted to skip pages. Don’t give them a reason! Find creative ways to convey what’s happening in a scene without actually repeating every detail. Your readers will thank you.

Yes, you want your characters to be realistic, but too much realism can slow down a story and kill the intensity. When you look for and cut back on these five things, you’ll naturally tighten your story without sacrificing characterization.

My sophomore novel—Practically Married—releases October 2019! Sign up for my monthly newsletter and you’ll receive sneak peeks, behind-the-scenes stories, and pictures of my cats and dogs. Follow me on Facebook, Instagram, and Twitter for writing tips, updates on Guiding Light, and more!

ABOUT ME

Editor. Teacher. Novelist.
A passionate lover of fiction, Karin doesn't just write novels, she helps others write their best stories! A certified substantive editor with the Christian Editor Connection, her goal is to help authors to put her out of business by equipping them with the tools they need to become better writers.

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Karin understood my advertising and marketing writing needs and accomplished the project in record time. She asked all the right questions up front to equip herself with enough … [more]

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Substantive Fiction Editing: A substantive edit looks at the big picture. Start here to tackle the big issues before moving on to the nit-picky details. Substantive edits not only point out … [more]

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Lover of all things fiction, I also love University of Michigan football, the Detroit Lions, Tigers, and Red Wings, kayaking, gluten-free cupcakes, and my husband.

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