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To Be or Not to Be: Writing Subplots by James R. Callan

September 20, 2021 by Karin Beery Leave a Comment

Recently, I was giving a talk on plotting. When I came to the topic of subplots, a lively discussion ensued. Some felt any book called a novel had to have a subplot. That was countered by some who felt that you should avoid subplots altogether. A few felt that subplots were there to beef up the word count. And others felt that was exactly why you should avoid subplots: they distract from the main plot.

I called a halt and offered these guidelines for sub-plots

  • It is a sub-plot. Therefore, it is sub (subordinate to, under, below, beneath) the main plot. It is second fiddle. So on all levels, it must remain secondary.  It must not crowd the main plot for space or attention. 

But, it is a plot.  Therefore, it needs the elements of a plot.  It must have a beginning, a middle, and an end.  It needs an arc.  It cannot coast along at the same level from start to finish.  And it is an important part of any plot, sub or main, that someone (or more than one) must change.  Keep in mind that person could be the reader. If you can change the attitude or mindset of the reader, that is a change, and much more difficult to achieve than changing a character of the book.

  • It must satisfy at least one of these two criteria.
  1. It must add to the reader’s understanding of the setting, the surroundings, the texture of the story. In my book Cleansed by Fire, the subplot involving a mysterious character close to the drug scene gives the reader a feel for the texture of the town, that is, the drug problem in the small town. Without my preaching about the problem, the Earl subplot makes it clear.
  2. It must give the reader a clearer understanding of one or more characters in the story, preferably the protagonist.  A well crafted subplot can allow the author to define the protagonist without “telling.”  It is an excellent vehicle for “showing” the reader the true nature of the protagonist without “telling.” Using the same example above, Earl allowed me to bring out a number of characteristics of the protagonist without “telling.”

So, in the example I have given, a subplot served two important jobs.

But what about the question: subplot or not. Subplots can improve a book. Subplots can help the author with two important areas: help define the texture of the story, and help the reader better understand certain characters – and in a way that works well for the author.

If you can use a subplot to accomplish one or both of the two conditions above, then by all means add a subplot.  If the subplot is used to simple bulk up the book, add words, get in something that you the author wants to say that is not necessary to the story, then leave it out.


Rod Granet, award-winning novelist and womanizer, is the main speaker at a writers conference. But after the opening session and in front of a crowd, Maggie DeLuca, Father Frank’s sister, accuses Granet of stealing her story and says he will pay for it.

That night, Granet is killed.

The sheriff quickly zeros in on Maggie and she is hauled off in handcuffs. The sheriff is convinced he has the murderer and threatens Father Frank not to get involved in this case.

But the sheriff is not the only one threatening Father Frank.

Can Father Frank stay out of jail and alive, and find the real killer?


After a successful career in mathematics and computer science, receiving grants from the National Science Foundation and NASA, and being listed in Who’s Who in Computer Science and Two Thousand Notable Americans, James R. Callan turned to his first love—writing.  He wrote a monthly column for a national magazine for two years. He has had four non-fiction books published.  He now concentrates on his favorite genre, mystery/suspense, with his sixth book releasing in 2014.

www.jamesrcallan.com/ 
Amazon Author Page: http://amzn.to/1eeykvG

Filed Under: writing Tagged With: James R. Callan, plot, subplots, writing a book, writing fiction, writing tips

Top Six Overdone Male Tropes by Gregg Bridgeman

March 30, 2021 by Karin Beery Leave a Comment

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Romance tropes aren’t the only overdone storylines in novels these days. Some character types are so overused that they’ve become cliche. Today, Gregg Bridgeman — Editor-in-Chief of Olivia Kimbrell Press — shares his thoughts on the overdone heroes of contemporary Christian fiction.

In Christian books, what are, in your opinion, the MOST overused male tropes? Examples:

#1 The “Crazy Vet” trope. Despite the fact that millions of American men have served in the military honorably and courageously, and go home to lead productive lives as husbands, fathers, and godly men — it seems that any time a veteran is written about in the last 30 years he is somehow mentally disabled or suffers from crippling post traumatic stress disorder. (As a combat vet myself, this trope is deeply offensive and dishonors not just me but every man I ever served alongside as well as those who didn’t make it home.)

#2 The “chosen one” trope. The chosen one is a common fantasy trope. His identity typically revolves around a task that’s been set aside for him, which he typically pursues without much hesitation or complication. Like Frodo Baggins, Luke Skywalker, and Harry Potter, the “chosen one” is often, conveniently, an orphan.

#3 The “mad scientist” slash “absent-minded professor” trope. Going back to Dr. Frankenstein (or any number of sorcerer antecedents), the mad scientist is usually a villain, driven by an eccentric, antisocial personality and unrestrained hubris or a desire to play God. The mad scientist’s benign counterpart is the nerdy “absent-minded professor” who’s so engrossed by his work that he struggles to relate to “normal people.”

#4 The “antihero” trope. Antiheroes are typically cynical loners with major personality flaws, often darkly appealing “bad boys.” Like normal heroes, the antihero still drives the story, but often to a more dangerous place. Tony Soprano, Walter White, and the grittier versions of Batman or other vigilantes are all prime examples of modern antiheroes. These days, antiheroes are almost as common as idealized heroes.

#5 The “small town hero comes home” trope. This man is from a small town but moves to the city. Once he has achieved success, he returns to his small home town for some reason. Usually, this is becuse one or more of his parents fall ill or have died. Then (dramatic pause) eye contact with the old high school sweetheart results in magic and they live happily ever after.

#6 The “Male Girlfriend” trope. This is hypothetically a male character, except that every action and every word of dialogue is distinctly NOT male. He could just as easily  be replaced with a female “girlfriend” character and the reader wouldn’t notice. None of his motivations or internal thoughts/feelings are identifiable as “male” character traits.

What would you say are THE MOST overused MALE tropes in books you have read in the  last few years?

It’s Karin again. The guy I’m most tired of is Casual Man. He never takes anything seriously. He never worries about anything. Still, everything works out for him and his lifestyle proves to everyone that being on time and setting boundaries are overrated. I don’t mind Casual Man, but only if his laid-back attitude sometimes bites him in the bum. My hubby is Casual Man. He’s helped me relax a LOT, but he’s also become a more dependable, reliable person since we’ve gotten married. I’d like to see THAT in a book!


Gregg began operating Olivia Kimbrell Press in 2011 acting as Editor-in-Chief. Then as now, he operates the press as a ministry. The primary objective remains that of lifting up and helping ministry-minded Biblical authors fulfill the Great Commission — to bring the Gospel message to the entire world — for every tribe and every nation. Gregg currently serves in the National Guard, is a decorated combat veteran, and is best known for his technical savvy and attention to the smallest detail. Website: www.oliviakimbrellpress.com .

Filed Under: writing Tagged With: characterization, Gregg Bridgeman, Olivia Kimbrell Press, tropes, writing characters, writing fiction, writing tips

Repetition: Your Novel’s Nemesis

November 11, 2020 by Karin Beery Leave a Comment

There’s something comforting about eating turkey and stuffing every Thanksgiving. Knowing what to expect brings a sense of peace to our often-hectic lives, but that’s not always the case.


Repetition and consistency will kill your novel.

A common problem for many new writers is repetition. It comes in several forms. Today we’ll look at three of the most common repetitive issues and strategies for fixing and avoiding them.

Chapter Openings. Each chapter should open in a way that fits the characters and content of that scene. Far too frequently, however, each chapter starts the same way. The most common issue I see is the info dump—each chapter starts with 1-2 (or four!) paragraphs of information. Here are the two big issues with that type of opening:

  1. It’s often a description of action that took place between chapters. Instead of telling the reader what happened between chapters, back it up and show the reader what happened.
  2. It’s unnecessary/irrelevant. Each chapter doesn’t need to start in the same place (for example, with the main character waking up). If the details aren’t necessary to character development or they don’t support the plot, they can probably be cut.

Dialogue. There are two main ways in which authors repeat in dialogue.

A. They repeat what the other person just said. Not only does the dialogue sound unnatural, but it doesn’t flow well either. Example:

“How are you, Bill?”
“I’m fine, Kathy. And how are you?”
“I’m fine too. Did you make it to the tractor pull last night?”
“I did make it to the tractor pull!”

A better option…
“How are you, Bill?”
“I’m fine, Kathy. You?”
“I’m fine. Did you make it to the tractor pull last night?”
“I did!”

B. Characters have the same conversations over and over again. Bill and Kathy talk about the tractor pull, then Bill goes and tells John the same thing, then Bill calls his dad and tells him about it. You only need to explain what happened once. Then say something like, “Bill explained everything to John before calling and telling his dad.” There’s no reason to repeat the conversation. Your reader will understand.

Review your dialogue. If characters fall into category #1, cut those unnecessary words to tighten the conversation. If they fall into category #2, only show the conversation once. Summarize it after that.

Situations. Bill and Kathy talk on the phone, then go to the school, then meet up for coffee. John and Sandy talk on the phone, then go to the park, then meet up for dinner. In this instance, all of the characters do the same things: talk, meet, eat.

Another variation on repeated situations is when one character always does the same thing. No matter who Bill is with, they end up at the hardware store. Regardless of who Kathy is meeting, they always go to the bookstore.

While it’s true that most of us live pretty uneventful lives (and we probably go to the same three places repeatedly), that doesn’t make for interesting fiction.

Go through your story scene by scene and make a list of what your characters do. Do you see any patterns? If so, change something. You might have to introduce a new character or a new plot point, but it will be worth it to prevent your readers from getting bored and tuning out.

There you have it—the three most commonly repeated issues that tank an author’s manuscript.

There you have it—the three most commonly repeated issues that tank an author’s manuscript.

Don’t let it happen to you. Take some extra time to clean up these issues so you can present a stronger, cleaner story.

For more writing tips and author interviews, sign up for my newsletter—as a ‘thanks for joining’ you’ll get “Simple Tips for Finding the Right Editor for Your Project”! You can also find me on Facebook, Twitter, or at my website!

Filed Under: writing Tagged With: best practices, fiction writing, self-editing, writing a book, writing tips

To Write for Him: Writing with Disabilities by Patty Hall

October 12, 2020 by Karin Beery Leave a Comment

“Becoming a disabled person wasn’t in the plan, but God used it to give me the desire of my heart, a writing career.”

I had a defined plan for my life. After putting my writing hopes on the back burner, I decided I would go to college, then settle into my career as a registered nurse. If the right guy came along, we would marry, and together, we would welcome our four children. We’d build our happy home in the small town I grew up in, all the while working on our individual careers. Once the kids were out on their own, we’d retire to the mountains where we’d get involved with our small-town community.

Becoming a disabled person wasn’t in the plan, but God used it to give me the desire of my heart, a writing career.

Of course, it didn’t happen overnight. For the first few years after the doctors declared me disabled, I was not just a little angry. I was fighting mad. Angry at the body that had betrayed me. Angry at the friends who suddenly talked to me differently. But most of all, I was angry at God for allowing someone to beat me up and leave my back permanently damaged. After all, I was doing what I thought was His will. I was saving people’s lives. So why did He allow this to happen to me?

The answer wasn’t easy to hear, but when I did, I recognized the truth in it. Why not? God never promised us our lives would be easy. In fact, the first chapter of James tells us we should rejoice in our trials and tribulations no matter how hard it is. When that truth settled into my soul, I let go of my anger, but I still had questions. If I wasn’t supposed to be a nurse, what was God’s purpose in my life? Surely, He didn’t want me sitting on the sidelines. What was I going to do now?

It wasn’t too long after this that my friend, Jodie gave me a prayer journal and suggested writing out my thoughts. By this time, I hadn’t written in almost two decades so for those first few weeks, I could barely manage half a page. It didn’t take long to come back to me, and soon I ‘prayed’ ten to twelve pages each day.

My writing didn’t stop there. I began to write about the people in my community—the elderly gentleman who sat on the bench outside of Walmart, handing out tracks to anyone who’d take them. Or the retired soldier sharing his testimony over a book about Pearl Harbor. My husband thought they were good enough for publication so I submitted to different publishers like Guideposts and Chicken Soup for the Soul, certain my scribblings would be rejected. But they weren’t, and I thrilled at seeing my name in print.

For the first time since the attack, I felt I was on the right path.

Door began to open, and soon, I was hard at work on my first novel. It hasn’t been easy—for the last fifteen years, I haven’t been able to sit for any length of time due to a fire-like pain in my lower back and hips. Most days, I’ve stood at my kitchen counter where I’ve written twenty-two books along with hundreds of devotionals and blog posts. In the days before my spinal fusion, I wrote my second book flat on my back. There have been times when the pain was too much that I begged God to take me home, but He didn’t, choosing instead to draw me closer to Him and growing my faith as He had with the Apostle Paul and his ‘thorn of the flesh.’

Earlier this year, God gave me a miracle. A change in my medication silenced the pain I’d had and for the first time in my adult life, I was pain-free. It’s been ten months now, and I can’t stop praising the Lord for this wonderful gift. God continues to use my weakness to strengthen my faith and gave me the deepest hope of my heart—to write for Him.


After her friend’s death in childbirth, Grace Sullivan converts her family home into a haven for immigrant families preparing for the birth of a child. But when the city threatens to close her down, her only hope is to ask for help from an unlikely source—her former friend, Patrick O’Leary.

Get your copy here!


Multi-published author Patty Smith Hall lives near the North Georgia Mountains with her husband, Danny, her two daughters, her son-in-law and her grandboy. When she’s not writing on her back porch, she’s spending time with her family or working in her garden.

Website: https://pattysmithhall.wpcomstaging.com
Facebook: www.facebook.com/authorpattysmithhall
Pinterest: https://www.pinterest.com/authorpattysmithhall/boards/
Instagram: https://www.instagram.com/authorpattysmithhall/

Filed Under: writing Tagged With: disabilities, encouragement, inspiration, Patty Hall, writing

Omniscient or Third Person POV?

May 11, 2020 by Karin Beery Leave a Comment

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.

For more writing tips and author interviews, sign up for me newsletter—as a ‘thanks for joining’ you’ll get “Simple Tips for Finding the Right Editor for Your Project”! You can also find me on Facebook, Twitter, or at my website!

Filed Under: writing Tagged With: fiction writing, novel writing, point-of-view, writing tips

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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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