Forensics & Faith

FictionFinder.com Launch!

noreply@blogger.com (~ Brandilyn Collins) — Fri, 18 Dec 2009 17:01:00 +0000

A little over a year ago I and the other members of the ACFW (American Christian Fiction Writers) Advisory Board met with Christian bookstore owners and asked them, "What can our organization do to help you?" The resulting discussion was an exciting brainstorming session. What the bookstore owners needed, they said, was an easy way to lead customers to fiction titles to suit their tastes. FictionFinder.com is now that tool. Here's the press release on its launch:
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ACFW, the nation’s leading Christian fiction writers’ organization, is launching FictionFinder.com, a new free resource for retailers, readers, media and other Christian fiction fans to search for authors and books. The search engine allows users to sort by author, title, genre, topic, publication date, and target audience.

Cynthia Ruchti, president of American Christian Fiction Writers (ACFW), believes this trusted, easy-to-use resource is a significant development in the search for Christian fiction authors and new titles.

”The idea rose from a roundtable discussion between the ACFW leadership team and Christian booksellers looking for a better way to connect their customers with great Christian fiction,” says Ruchti. “ACFW responded by rolling up our sleeves and creating a comprehensive database to serve readers, booksellers, publishers, authors, book club coordinators, librarians and others on the hunt for information and inspiration.”

The site also allows readers to learn about the nature of the content of each book. Each title is rated for action, conflict, humor, mystery, romance, spirituality and suspense, in addition to more sensitive issues like language, sensuality and violence. Users can also post reviews to the site and learn more about soon-to-be-released titles.

The database is the first of its kind and is not limited to books written by ACFW members. The organization is also working with publishers to ensure Christian novels by other authors are incorporated as well.

ACFW’s presence as the voice of Christian fiction and its industry prowess has long been recognized, and its authors are a mainstay on bestseller lists. FictionFinder.com is the organization’s latest effort to make finding the best in Christian fiction as easy as possible for fans around the world.

Quick facts about fictionfinder.com:

* Book information pages include facts about the publisher, main themes, setting and the author’s other titles.

* A special “similar books” section offers other titles the user may be interested in reading.

* Users can create an account with their preferences, making it easier to find new favorites.
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Go check out Fictionfinder.com right now.

Comparison of Bestseller Lists for November '09

noreply@blogger.com (~ Brandilyn Collins) — Thu, 17 Dec 2009 14:00:00 +0000

The bestseller lists for CBA and ECPA are now in. CBA's "January" list and ECPA's "December" list both reflect sales in the month of November. Books appearing on only one list are highlighted in blue.

CBA (Numbers in parentheses reflect placement on CBA's Top Fifty List)

1. (3) Shades of Blue, Karen Kingsbury, Zondervan
2. (8) The Shack, William P. Young, Windblown Media
3. (18) Green, Ted Dekker, Thomas Nelson
4. (20) The Missing, Beverly Lewis, Bethany/Baker
5. (40) An Amish Christmas, Beth Wiseman & Kathleen Fuller, Thomas Nelson
6. (43) The Sound of Sleigh Bells, Cindy Woodsmall, WaterBrook
7. (45) Intervention, Terri Blackstock, Zondervan
8. Take Two, Karen Kingsbury, Zondervan
9. A Lineage of Grace, Francine Rivers, Tyndale
10. The Centurion’s Wife, Davis Bunn & Janette Oke, Bethany/Baker
11. Redeeming Love, Francine Rivers, Multnomah/WaterBrook
12. White Christmas Pie, Wanda Brunstetter, Barbour
13. Where Grace Abides, B. J. Hoff, Harvest House
14. Take One, Karen Kingsbury, Zondervan
15. The Great Christmas Bowl, Susan Warren, Tyndale
16. (Tie) Though Waters Roar, Lynn Austin, Bethany/Baker
16. (Tie) Plain Promise, Beth Wiseman, Thomas Nelson
18. The Silent Gift, Michael Landon & Cindy Kelley, Bethany/Baker
19. Measure of Mercy, Lauraine Snelling, Bethany/Baker
20. The Secret, Beverly Lewis, Bethany/Baker

ECPA (Numbers in parentheses reflect placement on ECPA's Top Fifty List)

1. (1) Shades of Blue, Karen Kingsbury, Zondervan
2. (6) The Shack, William P. Young, Windblown Media
3. (10) The Missing, Beverly Lewis, Bethany/Baker
4. (14) Intervention, Terri Blackstock, Zondervan
5. (23) An Amish Christmas, Beth Wiseman, Thomas Nelson
6. (24) Green, Ted Dekker, Thomas Nelson
7. (28) Take Two, Karen Kingsbury, Zondervan
8. (32) Where Grace Abides, B. J. Hoff, Harvest House
9. (34) The Sound of Sleigh Bells, Cindy Woodsmall, Waterbrook/Multnomah
10. (36) A Measure of Mercy, Lauraine Snelling, Bethany/Baker
11. (44) The Silent Gift, Michael Landon, Jr./Cindy Kelley, Bethany/Baker
12. (46) Redeeming Love, Francine Rivers, Waterbrook/Multnomah
13. (49) Though Waters Roar, Lynn Austin, Bethany/Baker
14. The Secret, Beverly Lewis, Bethany/Baker
15. A Lineage of Grace, Francine Rivers, Tyndale
16. Plain Promise, Beth Wiseman, Thomas Nelson,
17. Take One, Karen Kingsbury, Zondervan
18. A Cousin's Prayer, Wanda E. Brunstetter, Barbour
19. Cry in the Night, Colleen Coble, Thomas Nelson
20. Who Do I Talk To?, Neta Jackson, Thomas Nelson

What We Learned in 2009

noreply@blogger.com (~ Brandilyn Collins) — Wed, 16 Dec 2009 14:00:00 +0000

Two days ago on Twitter/Facebook I asked, "What did you learn in 2009?" Turns out folks learned some pretty interesting things.

In 2009 I learned that:

A book doesn't get written by having good intentions. ;)

It's easier to bend when you are flexible (and I'm not just talking about yoga...)

More about Breast Cancer than I ever wanted to know!

"OPS" in baseball means "on-base plus slugging percentage." I always wondered.

A 5 y/o Musketeer's bar won't kill you (but it's still just as fattening).

Every dream is achievable...if you can dream it, you can BE it!!!

Some contracts aren't worth the paper they're written on. (Dial 911-LAWYERS?)

What a redwood looks like up close. A.W.E.S.O.M.E

Life changes and kids grow up whether you like it or not!

The only thing we can control in this life is how we react.

You can meet lot of new writer friends and network on Twitter.

How not to say something nasty about someone who hates you. Love can do wonders.

God truly blesses those who wait!

More about God's grace, how much there is, and how much I need it.

With God ALL things are possible!

A deeper understanding of trusting His timing.

God can perform miracles. It has possibly been the craziest and most wonderful year of my life.

The gift was not dead. Only hibernating.

This too shall pass.

Not to think I've got something nailed down too early.

I am a good writer and people will pay to buy my books.

I'm a pretty decent stand up comic. Fifteen hundred people can't be wrong, can they?

Life does get better after the death of a parent. The hurt scabs over, then the scab falls off and life goes on.

Jesus really does love me, just like the Bible told me so, and not in an abstract philosophical way, either. His love is fierce, protective, eternal and all powerful. No evil can stand up against it. Thank You, Jesus. Thank You for the Cross.

Trust in God, no matter what happens.

No matter how much faith you have in God, you still have to take action. He's not going to do the work for you.

You can meet lot of new writer friends and network on Twitter.

How not to say something nasty about someone whom hates you. Love can do wonders

God truly blesses those who wait!

More about God's grace, how much there is, and how much I need it.

With God ALL things are possible!

God restores!

God is present in all the transitions of life you don't want to go through.

You can't let circumstance get in the way of following a dream.

God does see our dreams and if we just believe he will make them come true.

No matter what happens, God is there. In the darkness, in the turmoil, in the fear, in the circumstance, He has already been there and will walk you thru it. EVERYTHING is Father Filtered.

A bit about the publishing process... and God used it to teach me patience.

No matter where I am the presence of God is.

Faith and trust is better for you than worry! I have put more faith in HIM and listened more for His leading and spent less time worrying about decisions in life. Turning things over and leaving it! It is AMAZING what God can do when you allow Him. More interesting things have happened to myself and my family this year because I learned to worry less and trust more.

I can actually write an entire novel (now 2)! I wish I had started sooner instead of being timid about it, but all in God's timing.

Patience, while waiting for answers from God; and a reminder that He is in total control, regardless of what the present circumstances might dictate.

Sometimes inquiry letters take time (years) to be answered, but when they are, it is quite profitable.

Inline functions are the work of the devil.

How to trust God for financial provision in a much deeper way this year. I've also grown in listening to the Lord with my husband - a new practice for us.

The US made a huge mistake on Election Day 2008.

To listen and act when I feel I am being led by divine intervention, instead of dismissing it as fancy.

How to make soap:)

That 2010 looks like it will be even worse.

How to get around with a broken foot.

God is more interested on our holiness than our happiness.

Being a grandmother is both a wonderful experience and a frustrating one...

"Man shall not live by bread alone but by every word that proceeds from the mouth of the Lord."

After close calls with both my parents, I savor every opportunity to enjoy time with the ones I love.

Every moment with each person we love is so precious and fleeting. Enjoy it! That's the important thing I learned - well, I knew it already but was reminded. On the frivolous side, I learned the difference between a yo yo, saltine, and granny's daughter. LOL

I was putting my faith in someone other than He who is faithful. (Didn't realize I was doing that.)

I am not God. He has to remind me of this again and again when I get anxious about sales and other personal stuff.

How about you? What did you learn?
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Yesterday I forgot to announce the winner for this month's Photo Friday. That winner is sharond, with this caption: "Gargle and spit" took on a whole new meaning when camping in the Smokies... Sharond, congrats! Please e-mail me with your address and choice of one of my novels at brandilyn (at) brandilyncollins (dot) com.

Happy 93rd Birthday to Mama Ruth

noreply@blogger.com (~ Brandilyn Collins) — Tue, 15 Dec 2009 14:00:00 +0000

Yup, my mom, known to many as Mama Ruth, is 93 today. Going on, oh 45 or so.

This year Mom finally had to stop driving. Now she tootles around her retirement village in "Ruth's Rocket." Mom still does her half-hour exercises every morning, and can still bend over and put her hands flat on the floor. She continues to play a mean game of Scrabble. And those teeth of hers, which she decided to straighten with braces at age 88, are still doggone straight.

I am blessed to have the most wonderful mom on earth. A woman who loves deeply, gives generously, laughs often (including at herself), and embraces God and life.

Please take a minute and leave a Happy Birthday comment for Mama Ruth. She'll be so happy to hear from you.

Amazon's Book Upgrade

noreply@blogger.com (~ Brandilyn Collins) — Mon, 14 Dec 2009 14:00:00 +0000

Sometimes a thing can stare you in the face, but you just don't see it. Such was the case with my discovering Amazon's book upgrade. As explained here, for a nominal extra fee certain books can be bought as a regular purchase, plus be available to you online. You can highlight the text, make notes, print it out, etc. This works great for how-to books, text books, etc.

For example, Amazon is selling my how-to book on fiction, Getting Into Character, for $10.85--a great price off the regular retail of $15.95. For an additional $1.59, still far under retail price, you can buy the upgrade.

Not all books are available for upgrade. If a certain book is available, you'll see the upgrade sentence right below the price information. Like this text, taken from the Getting Into Character page:
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List Price: $15.95
Price: $10.85 & eligible for FREE Super Saver Shipping on orders over $25. Details
You Save: $5.10 (32%)

Upgrade this book for $1.59 more, and you can read, search, and annotate every page online.
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The upgrade page gives details on how to buy upgraded books, and offers one for free, so you can see how it works. There's also an Amazon Upgrade store that you can peruse for available titles.

What do you think of this feature? Anyone ever used it?
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Don't forget to vote for your favorite Photo Friday caption. (There's also still time to leave a caption.) Winner announced tomorrow.

It's Photo Friday!

noreply@blogger.com (~ Brandilyn Collins) — Fri, 11 Dec 2009 14:00:00 +0000

And we're off again, with a picture worthy of winter. You know the game: write the most clever caption, win one of my novels (your choice). Write as many captions as you'd like and come back over the weekend to vote. I'll remind you to vote Monday also, and the winner will be announced Tuesday.

This picture was sent in by Jessica Collins. As a result, Jessica, you also win one of my novels. E-mail me at brandilyn (at) brandilyncollins (dot) com with your choice of book.

Have you taken a picture you think is worthy of Photo Friday? Send me a web-ready copy. I just might use it.

Now ... what is going on with this girl?

Things Look Bad? Make Them Worse

noreply@blogger.com (~ Brandilyn Collins) — Thu, 10 Dec 2009 14:00:00 +0000

Want to write crackling fiction? Bestselling suspense novelist Steven James, author of The Pawn, The Rook, and The Knight, tells Forensics & Faith his secret.
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Over the years as I’ve taught at writer’s conferences throughout the US and in India, I’ve found that too many people think of stories as a series of things that happen. But they are not.

When I was in elementary school, every year after we returned to school in the fall after summer vacation, the teacher would give us the same assignment: Write about what you did during the summer.

And we would write things like, “I went to camp and then I played video games and then I went swimming and then I fought with my brother . . . ”

I’m sure you can remember how brain-numbing these assignments were.

So, a few years ago when I was asked to speak to a fourth grade class on writing and telling stories, I said, “Kids, please do not tell me what you did over the summer, but could someone tell me about something that went wrong?”

A boy raised his hand and said, “My cousin came over to my house and we were having a contest to see who could jump the farthest off my bunk bed. ”
What a great opening line.

“He went first and he got pretty far and I said, ‘I can get farther than that. ’”

This kid was a natural.

“So I jumped off the top bunk, and the ceiling fan was on. I got my head stuck in the ceiling fan and it threw me against the wall, but I got farther!”
If I would have asked him what he did, he would have said that he played with his cousin, but because I asked him what went wrong he told me a story.

You do not have a story until something goes wrong.

I call this The Ceiling Fan Principle.

You do not have a story until something goes wrong.

At its heart, a story is about tension and tension is created by unfulfilled desire. So the secret to writing a story that draws people in and keeps them turning pages is to create more and more tension, not to make more and more things happen.

This shift in perspective will forever change how you shape and tell the stories that you write.

Romance stories are not about romance, they are about romantic tension. As soon as the actual romance happens, it is the end of the story.

Action stories are not about action, they are about unresolved problems. One event happening after another is not interesting for a reader, unless we can see what the unfulfilled desire of the main character is (surviving, saving the world, etc…)

That means that when you write a story, you are not asking yourself, “What should happen?” But rather, “How can I make things worse?” It also means that stories, at their essence, are neither character-driven nor plot-driven. All stories are tension-driven.

For example, you can write a fascinating description of a character or have five dozen chase scenes in your novel, but after a while we will grow tired of hearing about what the character is thinking or eating or wearing or doing if we do not know what their unfulfilled desire is. And we will grow tired of seeing car chases unless we know what the people chasing (or being chased) want.

Readers need to know what the character wants.

Readers need to know where the action is leading.

When I work on shaping one of my thrillers I am constantly asking myself how can I make things worse within the context of the character’s struggle. So, if the character’s struggle is depression, I have to lead them to the very edge of depression, the deepest and most hopeless situation imaginable. If her struggle is loneliness, I need to sharpen that loneliness to its most extreme limits.

Typically, the strongest stories will be centered on a protagonist who has both an internal struggle and an external struggle.

The internal struggle is a question that needs to be answered; an external struggle is a problem that needs to be solved.

Whether a story is considered character-driven or plot-driven, historical romance, cozy mystery, techno-thriller or literary fiction, this dual focus on the internal and external struggles of the main character will help snag readers’ interest and keep it. Genre will dictate which struggle takes precedent in the story, but all commercial fiction today needs both internal and external struggle.

To summarize, stop asking what should happen and focus instead on tightening the tension—making things worse.

Typically the worse you can make things for your protagonist (within the contexts of these two types of struggles), the better the story will be for your readers.

--Steven James
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Steven is teaching a novel writing intensive, which accepts only 8-10 students. Four slots are left. For more info, go here.

Check out Steven's latest novel, The Knight, on Amazon.

Following Steven's advice--what can you make worse for your protagonist?

Creating a Spiritual Theme in Your Novel

noreply@blogger.com (~ Brandilyn Collins) — Wed, 09 Dec 2009 14:00:00 +0000

How do I weave a spiritual thread into my suspense novels with the intent of not sounding preachy? My main rule:

I don't think about it.

When my readers pick up one of my Seatbelt Suspense® novels, they can expect:

1. A fast pace, starting with page one
2. Multiple twists
3. Multi-layered characterization
4. A spiritual element that arises naturally from the cataclysmic events

When developing a story, I plot with points #1-3 in mind. In order to achieve #4, most of the time I set it aside completely. I plot what I can of the novel, then start writing. As I write, the characters deepen. My protagonist is always in a heap of trouble, to put it mildly. As she fights her way through the melee, spiritual questions will naturally arise. Most people, even if they've given little thought to God, tend to start thinking eternally when faced with crises and possible death. As I continue to write I ask myself:

1. Where was this character regarding her relationship to God on page one? Some of my protagonists aren't Christians at all in the beginning.

2. Given her background and the story events, what sort of doubts/questions would she begin to have? When a protagonist is well characterized, readers will feel her questioning in their own hearts.

3. How much time passes between the beginning of the book and the end? Many of my stories take place in very little time--some even in 24 hours or less. The spiritual character arc in such a short time can't be big, or it won't seem natural. But it's all relative. A match in deep darkness seems very bright. So a small moving toward God, or even a greater understanding in some way, can hit home as a bright spiritual truth.

Some tips to guide you in your own writing:

1. Story rules--let your characters drive the spiritual theme. Don't try to force the theme to be any stronger, or any more subtle, than what is natural for your story.

2. Take risks. Granted, the level of risk depends on many things--your publisher, your readership and genre. What about writing a story in which the spiritual element is entirely beneath the surface? Or writing a story in which the protagonist doesn't accept the spiritual truth presented to him/her?

Recently I watched The Godfather III again. In this final part of The Godfather saga, Michael Corleone desperately wants out of the Mafia. He wants to become a "legitimate" businessman. And he longs for true redemption, realizing that his style of life has cost him one family member after another. The movie incorporates the one-act opera Cavalleria Rusticana--which takes place on Easter Sunday and reenacts the crucifixion and resurrection. In attending this opera Michael is exposed to the promise of true redemption. He's also exposed to the promise of redemption through a conversation with Cardinal Lamberto, a truly spiritual priest who urges Michael to take his first confession in 30 years. Yet Michael keeps allowing himself to be drawn back into his old murderous lifestyle. In the end of the movie, Michael is an old man, sitting in a garden. There, all alone, he dies and falls from his chair to the ground.

I found the spiritual theme of Christ's offered redemption to be strong in this secular movie. In fact, I think it was strenghtened by the fact that the protagonist saw the Truth, was offered the Truth, but did not take it. And so he died alone and unredeemed. What a wasted life. But it was absolutely natural and right for the kind of man Michael Corleone was--and continued to choose to be.

3. Be prepared for some criticism. You won't please everyone with your level of spiritual theme, no matter how natural it is to the story. There will always be someone who says it's too strong, while another criticizes you for not including enough of it. But if you follow #1--Story rules--you'll know the spiritual content is just right for that particular story.

How about you? Do you find yourself trying to force spiritual theme/content into your novel? Do you think you have too weak of a spiritual theme? How might your protagonist(s) lead you in making it just right?

Guest Posts on F&F

noreply@blogger.com (~ Brandilyn Collins) — Tue, 08 Dec 2009 14:00:00 +0000

Do you have an idea for writing a guest post on Forensics & Faith? It would need to be a newly written piece covering one of the basics that we discuss here:

~ fiction craft
~ the writing industry
~ marketing and social media
~ the writing life

Remember that readers here cover the gamut of professionals in the industry--from aspiring writers to multi-published to editors and agents. Give us something to think about, learn from, act on.

If you have an idea in mind, please e-mail it to me in a one-paragraph summary. Send to: brandilyn (at) brandilyncollins (dot) com. If I think your idea fits our readership and isn't something we've recently covered, I'll get back to you.

Also, if you have ideas for certain guest posters you'd like to see here, please let me know in the comments.

What I Learned From Brandilyn About Writing Fiction

noreply@blogger.com (~ Brandilyn Collins) — Mon, 07 Dec 2009 14:00:00 +0000

Today Forensics and Faith is pleased to participate in the official launch of the latest book from Christy-winning author, marketing guru, and Snowflake Guy Randy Ingermanson. Writing Fiction for Dummies is now hot off the press. Randy is running a special promotion today, Dec. 7, through Wednesday, Dec. 9, on his web site. To see what kinds of free goodies you'll get if you buy Writing Fiction for Dummies (or if you've already bought the book), go here.

Randy Ingermanson is the award-winning author of six novels. He holds a Ph.D. in physics from the University of California at Berkeley and writes fiction about life at the intersection of Science Avenue and Faith Boulevard. Randy also publishes the free Advanced Fiction Writing E-zine, the world's largest electronic newsletter on how to write fiction, with over 18,000 readers.

Here's what Randy has to tell us about Writing Fiction for Dummies:
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I'm a big fan of Brandilyn's book on fiction writing, Getting Into Character. I'm a character-based fiction writer, so I'm always eager to learn more about how to develop characters in fiction.

One thing that I picked up from Brandilyn's book was the importance of "values" in defining a character. She talks about this in Chapter 1 of her book, and a lot of it was new to me when I read her book.

Please note that the word "values" is overloaded with all kinds of meanings. Different people use the word in different ways. In this post, I'm going to define exactly what I mean by "values"
and then explain why it's so critical to writing compelling characters in fiction.

I define a "value" to be "a core truth that is self-evident--a person believes this core truth without needing to give a reason."

Let's unpack that a little, since it seems different from what we usually mean by a "value." People often say that they value money, or family, or fame, or whatever. What does that have to do with "core truths?"

The answer is simple. If somebody "values" family, for example, then that really means that they believe the following: "Nothing is more important than my family."

Notice several things about this statement:

* It's stated as if it were a factually true statement.
* It actually is just the opinion of the speaker.
* It can't be explained or defended in terms of some deeper truth.

It is so "obviously" true to the speaker, that it cannot and need not be explained. (If there were some deeper truth that explained your value, then THAT would be the real value.)

Most people have a number of values that they hold true. In the Declaration of Independence, Jefferson held that certain truths were self-evident--that all men were created equal, that they are endowed by their Creator with certain inalienable rights, etc.

A self-evident truth is self-evident--it need not be explained. In fact, it can't be explained. It's "obvious." That's what I mean when I talk about a "value". It's a core truth that is self-evident.

Please note that what's self-evident to Mary may not be self-evident to Joe. Different people have different values. That's what makes life interesting, and fiction too.

Please note also that what's "self-evident" to Adolph may not even be true. Some people hold fast to "core truths" that simply aren't true. No matter--those core truths are still values for them. This is not relativism. It's the opposite of relativism. It's a recognition that people can genuinely believe things that are flat out wrong.

A person's values determine much of who they are and what they want out of life. For example, the value of the Jackal in Frederick Forsyth's novel The Day of the Jackal is this: "Nothing is more important than living the good life." The Jackal is an assassin. He kills for money because it lets him live well.

The Jackal knows that money is the necessary means to live the good life. So his value leads immediately to a desire to retire in wealth and security. This is what I call an "ambition"--an abstract goal of a character. Ambitions spring from values. A key point to notice is that ambitions are abstract. They're vague and fuzzy. What does it look like to "retire in wealth and security?"

The answer comes into focus for the Jackal when he's asked to assassinate Charles De Gaulle. He knows that it's a high risk proposition, but he's willing to do it for half a million dollars (in
1962 dollars) because he knows that he can then achieve his ambition to retire in wealth and security.

That then becomes the Jackal's "story goal"--which I define to be his concrete goal for the story. The story goal MUST be some concrete action or thing or achievement that will fulfill a character's abstract ambition.

A good story goal has these five properties:

* Concrete (you can visualize it)
* Objective (if you reach it, everyone will know)
* Worthwhile (in the light of the character's values)
* Achievable (not a pipe dream)
* Difficult (not a walk in the park to get it)

When you have a story goal that is all of those things, you have a great story. The story reduces to this: "Will the character reach his story goal or won't he?"

In a nutshell, a value (a core truth) leads to an ambition (an abstract desire) which leads to a story goal (a concrete way to achieve the desire).

But there's more to values than that! A really interesting character has multiple values and they conflict.

The Jackal is not a deep character. He has one value. So let's look at another character with more depth.

Don Corleone, the lead character in Mario Puzo's novel The Godfather, has several values. Two of them conflict right from the start:

* "Nothing is more important than family."
* "Nothing is more important than respect."

The conflict begins early in the novel when Don Corleone's oldest son, Sonny, shows him disrespect in front of a rival Mafia gangster who is trying to do a business deal with Corleone. Corleone doesn't like the proposition. Sonny does, and he shows it--thereby dissing his father's judgment.

Corleone's two values now come in conflict. Does he value his son more than he values respect? Will he punish his son to maintain his respect? Or will he let his son slide and lose respect? He can't do both!

In the novel, Corleone fails to punish his son. Soon afterward, the spurned gangster guns down Corleone in the street, in hopes of doing a deal with Sonny. This launches a bitter gangster war that carries the reader through a long and complex novel.

All because of two values in conflict. Values matter. Values matter enormously in fiction. When a character's values conflict, the reader can't predict what will happen next. But the reader will believe whatever happens next, so long as it's in line with one of the character's values.

This is the secret to balancing believability with unpredictability in fiction.

There's more to be said about values, ambitions, story goals, and all that. Much more. Some of it I learned from Brandilyn. Some of it I learned other places. Some of it I pulled out of my own twisted little brain.

If you're interested in learning more about characters (and plot and theme and storyworld), let me point you to my new book, Writing Fiction for Dummies. You can find out more here.
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Randy's launch freebies includes excerpts from writing books by numerous other authors, including my Getting Into Character. Don't miss the launch!

Hard Truths About Soft Platforms

noreply@blogger.com (~ Brandilyn Collins) — Fri, 04 Dec 2009 14:00:00 +0000

My pal James Scott Bell has just seen a new book release: The Art of War for Writers. In the introduction Jim says:

The publishing business is a messy affair ... What I want to do with this collection is offer you some helpful observations based on more than twenty years in the fiction writing game. This is not a comprehensive "how to" on fiction. I've written two other books in that form. Rather, I seek to fill in some "cracks" in what is normally taught in writing books and classes.

The book is broken into three sections:

1. Reconnaissance: the mental game of writing

2. Tactics: The craft of writing

3. Strategy: Advice on the publishing biz

In celebration of the release of The Art of War for Writers I asked Jim to stop by Forensics and Faith today to talk to us about what's on his mind.
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It's a pleasure to be guest blogging for my buddy Brandilyn on this, the launch tour of my new book: The Art of War for Writers. It's available in all the usual places. You can even download a free sample just by going here. I'll just say that it's a "field manual" for those fighting the battle to get – and stay – published.

So since I'm here blogging about it, it seems an apt time to bring up a certain buzzword, one you're all probably familiar with: platform.

What is a platform? It comes from the world of public speaking. It's something you stand on so you can yak at people. A lot of people.

Metaphorically, if you have a lot of people listening to you, you have a platform. And publishers like that because it means many of those people may buy your book.

Sounds simple. But platforms for fiction writers may have a trap door. We'd best talk about it so you don't fall through.

We have to distinguish between non-fiction and fiction. Non-fiction writers who specialize in a subject, or are known for something they’ve done, have a natural platform, namely all the people who are into the subject matter or celebrity thing.

So Suzie Orman, a recognized financial expert, can sell books because of her expertise. She can speak, and people who want financial advice will come and listen. At the back of the room her staff can sell books and DVDs. It's a money making operation.

Not so the fiction writer. We write stories intended to reach a diverse readership, which translates into: people who are hard to find.

The Internet seemed to be the way to handle that challenge. After all, a billion people use the Internet. All we have to do is set up a blog about our books, and we have a billion potential hits! Wow! Get just one percent to buy your novel (and they will, because of that snazzy book trailer!) and you've sold ten million books!

Of course, that was fifteen years ago in a dream. The reality is that in the flurry of Internet fog it's hard to get any attention at all. And even if you do (here it comes, the takeaway): That does not guarantee a fiction writing career for you.

As writer Simon Wood recently put it:

"There's a massive pinball effect with a writer’s work. Someone reads a story and likes it, so they check out something else I’ve written. That only works if what is out there is good. If it’s bad, it has the converse effect and they're unlikely to seek out other works."

Writers have simply got to understand it's not pervasive marketing that sells, but the stories themselves. You can market yourself to an introduction, but the readers will base future purchases on how much they like what they read, not on how many titles you have available on the Internet in digital form, or how many Twitter followers you have.

Unpublished fiction writers need to quit obsessing over platform, quit re-designing fancy websites, quit posting first chapters on Facebook, quit trying to jump start careers via Twitter. What they need to be concentrating on is writing a book readers can't put down--can't put down because the writer has spent years bleeding desire and passion and is unashamedly putting that on the page, using all the tools of the craft learned bit by painful bit by writing every day.

When you write books readers love, platform takes care of itself, because word-of-mouth and repeat readership are the only two planks that count.

Am I saying don't do any of this Internet or social networking stuff? Of course not. I do some of it. It's out there and you have choices. What I am saying is this:

Do what you can in the marketing/promotion matrix without:

1. Harming the quality of your writing;

2. Harming the quality of your family and personal relationships; and

3. Going into debt.

Follow those guidelines and write your best stuff. Doing so will drain all the anxiety out of the word platform.
-----------------------

Visit Jim's web site
Check out The Art of War for Writers on Amazon

What do you think? Do Jim's ideas of building a platform decrease your stress over the issue?

My Top Ten Christmas Wish List

noreply@blogger.com (~ Brandilyn Collins) — Thu, 03 Dec 2009 14:00:00 +0000

Now that the Christmas season is officially upon us, I present to you my wish list, taken from an original post I wrote four years ago, with updates. Some items haven't changed at all. Others definitely have. Anyone out there looking to send me a present, please feel free to select from one of these items:

1. New plastic packaging for CDs that a person can actually open. I would like to buy a CD, return to my car and not have to stab the thing, bite it, jab it with the car key, and generally make all manner of frustrated remarks about lack of user-friendliness.

Update: I rarely buy CDs anymore. Now it's iTunes. You can buy me a gift card there instead.

2. Decent customer service at businesses. You know, simple things, like—when you arrive, they look at you? Acknowledge your existence? Instead of focusing only on the current top person in line for minute after minute, after five, after ten, pretending you are not there so they don’t have to worry about all the time you are waiting when you really could be doing something else because goodness knows, you have better things to do than—

Update: No change here. Bad customer service still brings out the ranter in me.

3. A national rule that all online stores must include a phone number. There are times in life when the computer freezes, or we mess up in online ordering, and just might like to talk to a real person.

Update: Ditto #2.

4. A new DNA “I love to clean my room” gene that automatically kicks in during teenage years.
Update: All our children are now out of the house. Amazing how rooms stay clean. (I trained my husband years ago. Or did he train me?...)

5. While we’re at it, another gene for the teenage years that makes one violently sick to the stomach the minute the cell phone call/text message limit has been exceeded.

Update: I gave up long ago on this one. Put the ever-texting daughter on a plan with me and bought unlimited texts and oodles of minutes. It's cheaper.

6. A face cream that really does take away wrinkles. Every blessed one of them. Forever.

Update: Are you kidding? Need this one now more than ever.

7. A million new loyal readers. Overnight shipping on this one, please.

Update: Make that 2 million. Inflation, and all that.

8. The need for only four hours’ sleep a night. That way, when my entire day is unproductive, I can still crank out the pages from two to six in the morning.

Update: If only ...

9. A body that simply will not gain weight, whatever nonsense I eat.

Update: Ditto #8.

And most of all . . .

10. A perfectly executed, all-the-reviewers-love-it, internationally best-selling masterpiece that writes itself.

Update: Ditto #8 & #9. Times 1000.

Dare I ask what lovely new item might be on your list?

New Issue of Christian Fiction Online Magazine

noreply@blogger.com (~ Brandilyn Collins) — Wed, 02 Dec 2009 14:00:00 +0000

The December '09 issue of CFOM is now out. It's full of helpful articles on the craft of writing and the fiction industry. Here are a just a few of the many:

1. Lying To the Reader, this month's article for my column "Making a Scene." This article on the balance between surprising a reader and lying to him/her grew out of the "Readers' Rants post done here on F&F back in June.

2. Do Book Trailers Work? by marketing guy Jim Rubart.

3. Being a Christian Writer in a Changing World by agent Terry Burns.

4. Author interview with Christy-winning thriller writer John Olson.

Five Top Reasons Why Aspiring Novelists Should Not Self-Publish

noreply@blogger.com (~ Brandilyn Collins) — Tue, 01 Dec 2009 14:00:00 +0000

My word to the aspiring novelist who's thinking of self-publishing--"Don't."

These days self-publishing is easier than ever. Now even traditional publishers are starting to tout self-publishing arms. But that doesn't make SP the best choice for those who want to pursue a career in fiction.

Just to be clear before I continue--I'm not talking about self-publishing nonfiction. Nor am I talking about an established novelist choosing to use POD (print on demand) to reissue a novel that's fallen out of print. I'm talking only about the new novelist.

Five Top Reasons why aspiring novelists should not self-publish:

5. Self-publishing is Plan B. Let's be honest--what aspiring novelist would choose shelling out dollars to self-publish over being paid for a novel by a traditional publisher? If you want a career in fiction, Plan A is worth striving--and waiting--for.

4. Distribution. It's one thing to print a book. It's quite another to sell the printed copies to stores. First you must convince the bookstores to stock your product--and book shelf space is particularly tight these days. Stores are stocking less books even by novelists who've already made a name for themselves. Don't expect stores to readily stock your self-published book, regardless of the promises SP companies may make.

3. Marketing. It's bad enough now with traditional publishers. They all want to know how you will help market your novel. But at least you're part of a team. Going the SP route, it's just you. What's your platform? If you're not getting distribution to stores, you need to sell directly to readers. Are you willing to merely cover your costs? Even lose money? Are you prepared to see the novel you worked so hard to write sell only a few hundred copies, if that?

2. Editing. Yes, I know the SP companies may promise editing, based on how much you're willing to pay. In most cases the level of "editing" is far under what you'd receive from a traditional publisher. Sometimes it's nothing more than copy editing. The substantive "macro" edits for fiction--dealing with characterization, foundational story structure, dialogue, etc.--are likely to be lacking. Not good. Every novelist needs a good, hard edit. After writing 21 books, I sure wouldn't want to be without one. Even if you're promised a macro edit--how skilled is that editor in fiction? (All fiction editors are not created equal.)

And the #1 reason:

There's no shortcut to craft. This one's the hard truth, folks. If your novel has been rejected by numerous traditional publishers, most likely your craft hasn't yet reached the publishable level. I know this from firsthand experience. It took me ten frustrating, heart-wrenching years to learn my craft to the publishable level. If I had succumbed to the temptation of self-publishing anywhere along the way, I would have shortcut the learning of my craft. Instead I rewrote and rewrote my novels until they were ready. I became skilled in story structure, dialogue, multi-level characterization, symbolism, foreshadow and red herrings--all the aspects that make up my craft. I had to. It was either that or quit and abandon my dream. Learning to write fiction is hard work. It takes diligence and time. Self-publishing is a quick fix to the problem of multiple rejections. But it does not take the long-term view of building one's craft for a lasting career as a novelist.

Yes, I've heard of The Shack. To most rules you'll find a few exceptions. But for every The Shack, there are thousands of SP novels that sold little and did nothing for the writer's career. And yes, I've heard the arguments that a first novel may be ready in craft--but no publisher will touch it because of content. That's rarely true. If it's craft-ready, someone will eventually pick it up. Again, I speak from experience.

I could so easily have self-published Eyes of Elisha, my first suspense. Even when it was craft-ready--enough to garner the attention of multiple pub boards--the door was slammed on it again and again because of its content. That was only in 2000, but CBA (Christian market) fiction has vastly changed since then. Now CBA publishers wouldn't even blink at such a story. But I kept trying through my agent--and finally a door opened through Zondervan (a division of HarperCollins). Eyes of Elisha was published in 2001 and went straight to the CBA bestseller's list. Eight years later it's still in print and selling. I have two folders overstuffed with hundreds of e-mails and letters from readers who love Eyes of Elisha, and I now need to start a third.

I'm well aware of the controversy on the subject of self-publishing for a new novelist. I'm well aware that emotions tend to run high on the issue. I do not write this post to cast aspersions on those who have done so. I write it to encourage aspiring novelists to stay the course, keep learning, and earn your way into a traditional house. Those of you who have self-published your fiction--I encourage you also to keep learning your craft (as all we novelists must do) and work to see your next novel bought by a traditional house.

November '09 List of Today's Word

noreply@blogger.com (~ Brandilyn Collins) — Mon, 30 Nov 2009 14:00:00 +0000

Go ahead--try to use at least six in a sentence. You can do it.

VATICINATION (vuh-TIS-un-A-shun) noun--something foretold, prediction or prophecy; the act of prophesying.

BLUENOSE (BLUE-nose) noun--one who advocates a rigorous moral code of personal conduct; puritan.

ORGULOUS (OR-gyu-lus) adj.--proud or haughty; showy.

CONCORDAT (kun-KOR-dot) noun--a compact between a government and a religious group; an agreement/covenant.

PHYLACTIC (fuh-LAK-tik) adj.--of or relating to defense.

MERETRICIOUS (MER-uh-TRI-shus) adj.-pertaining to a prostitute; based on pretense/insincerity; cheaply ornamental.

FAVONIAN (fuh-VO-nee-un) adj.--Of or pertaining to the west wind; mild, bland, benign.

AGITPROP (AJ-ut-prop) noun-propaganda & agitation (esp. of Communist party); dept./bureau in charge of agitprop.

OBTRUDE (ub-TROOD) trans. verb--to thrust out; to put forward or make noticed without warrant or request.

FRUCTUOUS (FRUCK-chew-us) adj.--fruitful, productive; profitable.

PREMIATE (PRE-me-ate) trans. verb--to give a prize to.

HARUSPEX (hu-RUS-peks) noun--one who foretells events by interpreting natural phenomena; one who predicts.

ECHINATE (EK-i-nut) adj.--densely covered with stiff bristles or spines, like a hedgehog.

OROTUND (OR-uh-tund) adj.--full and clear in sound, sonorous; unduly strong in delivery or style.

DISTRAIT (duh-STRAY) adj.--inattentive; anxiously divided or withdrawn in attention.

SOLIPSISM (SO-lep-SIZ-um) noun-- extreme concern with the self at the expense of social relationships; egoism.

ENCEINTE (an-SANT) adj.--being with child, pregnant.

PROEM (PRO-em) noun--preliminary to a piece of writing/preface; introductory comment before a speech.

KERYGMA (kuh-RIG-muh) noun--preaching of the Christian gospel by apostles or early church.

COMMINUTE (KOM-i-NYUT) verb--to reduce to minute particles or fine powder; to pulverize.

FICTILE (FIC-tul) adj.--molded into an art work or artifact, as in pottery; capable of being led or directed.

PUISSANCE (PYU-uh-sunce) noun--ability to coerce or sway; controlling influence; strength, power.

SITUS (SIH-dus) noun--the place where something exists or originates.

DEPREDATE (DEH-pruh-DATE) verb--to lay waste; to prey upon; to plunder.

EUPHONIOUS (yu-FOH-nee-us) adj.--pleasing in sound.

COACERVATE (koh-AAH-sur-VATE) verb--to gather together in a heap or group; collect.

CALLIOPEAN (kuh-LIH-uh-PEE-un) adj.--resembling the sound of a calliope, loud and piercing.

IATROGENIC (eye-a-tro-GEN-ick) adj.--induced by a physician, esp. through autosuggestion during examination.

SOMATIC (so-MAAH-tic) adj.--of or relating to the body, physical.

EIDOLON (eye-DOH-lun) noun--an unsubstantial image, a phantom; an ideal figure, an examplar.

Happy Thanksgiving

noreply@blogger.com (~ Brandilyn Collins) — Wed, 25 Nov 2009 14:00:00 +0000

Eat turkey, love family, pray thanks.

Blessings on you all. I'm so thankful for your friendship and participation here on F&F.

Be back next Monday.

Coca-Cola and You

noreply@blogger.com (~ Brandilyn Collins) — Tue, 24 Nov 2009 14:00:00 +0000

"There was a period when our company did lose its way. We were too internally focused and not focused enough on the changes taking place with our consumers and customers. In essence, we were too busy looking at the dashboard and were not sufficiently paying attention to the world outside of our windshield." --Coca-Cola CEO Muhtar Kent

Even when you're Coca-Cola, controlling nearly 51% of the global carbonated soft-drink biz, you can't rest on your laurels. You have to be forward-thinking. Coca-Cola doesn't just sell soft drinks any more. The company needed to be more alert to trends in drinking. People are going after juice-based drinks, health drinks, bottled water, etc. Coca-Cola needed to pay attention.

The full article in Advertising Age is interesting. Read it here.

And ask yourself--"What changes in my sphere of influence--from the book industry to working in the corporate world to staying home and raising kids--am I failing to keep up with?"

noreply@blogger.com (~ Brandilyn Collins) — Tue, 24 Nov 2009 13:00:00 +0000

This week, the
Christian Fiction Blog Alliance
is introducing
Loss Of Carrier
BookSurge Publishing (October 27, 2009)
by
Russ White

ABOUT THE AUTHOR

Russ White is an internationally recognized internetwork engineer. He has co-authored eight books in the field of network design and routing protocols and is a regular speaker at international networking conferences.

In addition to working on several expert and senior-level network engineering certifications, he is a certified firearms instructor.

Russ, his wife, and their two children live in the Raleigh area of North Carolina, where they enjoy spending time on Jordan Lake and attending Colonial Baptist Church. Loss of Carrier is his first novel.

ABOUT THE BOOK

Bright yellow cables against a blue shirt? Carl never would have approved of that color combination. Why was his face so white? His eyes should be closed, not open. Why hadn’t one of the security guards seen this and reported it to the police? The lights were off, the cameras were useless in the dark.

Of course, the cables wrapped around Carl’s neck explained why the server wasn’t working. Loss of carrier.

Jess Wirth lives a dreary life. He spends most of his time crammed inside a cubicle, toiling as a network engineer and stewing over the details of his ugly divorce. But when he finds his co-worker dead in the basement of their office, Jess’s life takes a surprising—and unpleasant—turn.

The police quickly declare the death a suicide, but Jess isn’t so sure. Not long after he begins digging into the victim’s work, another co-worker turns up dead, convincing him once and for all that something sinister is brewing behind the cubicle walls.

His investigation leads him to a mysterious woman name Leah, who pushes him to entrust her with the information he’s collected about his dead colleagues. Wary of Leah’s motives yet inexorably drawn to her, Jess keeps her at arm’s length...until an attempt is made on both their lives. Realizing they are close on the trail of a dangerous criminal, the pair race to expose a data theft ring before they become the killer’s next victims.

If you would like to read the first chapter of Loss Of Carrier, go HERE.

Comparison of October '09 Bestseller Lists

noreply@blogger.com (~ Brandilyn Collins) — Mon, 23 Nov 2009 14:00:00 +0000

ECPA's "November List" and CBA's "December List" both reflect sales in the month of October. Books appearing on one list and not the other are highlighted in blue.

ECPA (Numbers in parentheses reflect placement on ECPA's Top 50 List)

1. (4) The Shack, William P. Young, Windblown Media
2. (5) The Missing, Beverly Lewis, Bethany/Baker
3. (6) Intervention, Terri Blackstock, Zondervan
4. (12) Shades of Blue, Karen Kingsbury, Zondervan
5. (20) Take Two, Karen Kingsbury, Zondervan
6. (22) A Measure of Mercy, Lauraine Snelling, Bethany/Baker
7. (23) Green, Ted Dekker, Thomas Nelson
8. (32) Though Waters Roar, Lynn Austin, Bethany/Baker
9. (34) Take One, Karen Kingsbury, Zondervan
10. (36) The Secret, Beverly Lewis, Bethany/Baker
11. (37) A Cousin's Prayer, Wanda E. Brunstetter, Barbour
12. (41) The Silent Gift, Michael Landon Jr./Cindy Kelley, Bethany/Baker
13. (43) Cry in the Night, Colleen Coble, Thomas Nelson
14. (48) Lineage of Grace, Francine Rivers, Tyndale House
15. (50) Redeeming Love, Francine Rivers, Waterbrook/Multnomah
16. Who Do I Talk To?, Neta Jackson, Thomas Nelson
17. Dawn's Prelude, Tracie Peterson, Bethany/Baker
18. Sound of Sleigh Bells, Cindy Woodsmall, Waterbrook/Multnomah
19. Face of Betrayal, Lis Wiehl, Thomas Nelson
20. Plain Promise, Beth Wiseman, Thomas Nelson

CBA (Numbers in parentheses reflect placement on CBA's Top 50 List)
　
1. (2) Shades of Blue, Karen Kingsbury, Zondervan
2. (8) The Shack, William P. Young, Windblown Media
3. (10) Intervention, Terri Blackstock, Zondervan
4. (13) Missing, Beverly Lewis, Baker
5. (30) Green, Ted Dekker, Thomas Nelson
6. (38) Measure of Mercy, Lauraine Snelling, BethanyBaker
7. (39) Take Two, Karen Kingsbury, Zondervan
8. (40) A Lineage of Grace, Francine Rivers, Tyndale
9. (46) The Sound of Sleigh Bells, Cindy Woodsmall, WaterBrook
10. (48) Redeeming Love, Francine Rivers, Multnomah/WaterBrook
11. Though Waters Roar, Lynn Austin, Bethany/Baker
12. Where Grace Abides, B. J. Hoff, Harvest House
13. The Knight, Steven James, Revell/Baker
14. The Secret, Beverly Lewis, Bethany/Baker
15. A Cousin’s Prayer, Wanda Brunstetter, Barbour
16. Dawn’s Prelude, Tracie Peterson, Bethany/Baker
17. Redemption, Karen Kingsbury & Gary Smalley, Tyndale
18. An Amish Christmas, Beth Wiseman & Kathleen Fuller, Thomas Nelson
19. The Last Word, Kathy Herman, David C. Cook
20. The Silent Gift, Michael Landon & Cindy Kelley, Bethany/Baker

How To Read a Brandilyn Collins Novel

noreply@blogger.com (~ Brandilyn Collins) — Fri, 20 Nov 2009 14:00:00 +0000

I got a kick out of reading this blog post by a Seatbelt Suspense fan. She's taken it upon herself to help the rest of you achieve the utmost comfort while you read one of my books. Here's what Jess has to say:

http://blogschmogme.wordpress.com/2009/11/17/how-to-read-a-brandilyn-collins-book/

Emotion Memory--Part 3

noreply@blogger.com (~ Brandilyn Collins) — Thu, 19 Nov 2009 14:00:00 +0000

Give me 10 minutes and I'll turn you into a murderer.

[Missed parts 1 and 2? Read them here and here.]

Follow me through this scene and allow yourself to discover the powerful depths of emotion memory. You may not have experienced this exact situation, but chances are you’ve experienced one very similar to it. From the smallest, most insignificant moment of your life you can unleash the emotion memory needed to portray one of mankind’s most heinous acts.
~ ~ ~

Finally, the time has come. The time set aside just for you, when your guests have waved goodbye after their week-long stay. You are alone in the house and exhausted. You don’t care that you have work to do. All you can think of is – The Book.

You were reading it, loving it before the guests came. But all during the week you could only catch bits and pieces of it after falling into bed each night, your eyes fighting sleep. Last night you managed to read for almost an hour. You only have fifty pages left, and you can’t wait to see how it all turns out.

Your guests now gone, you make a bee-line for the book, grasp it from your nightstand and hurry to the family room. There, your steps slow. You hesitate in the center of the room, biting the inside of your lip. This long-awaited time is too good to rush through, you think. You want to enjoy it, revel in it. You blink as an idea flits across your mind. Tossing the book on the couch, you head for the kitchen. You’ll make your favorite hot drink to sip and savor as you read. Ah, that will really do it! The mere anticipation rolls comfort, contentment, across your shoulders.

You hum a little tune as you make the drink. Its wonderful aroma tickles your nose as you carry the hot mug into the family room and place it on an end table. You pick up your book, settle into the couch with a sigh. Smiling, you open the novel, slip out the bookmark and begin to read.

Your eyes glide over the pages, your muscles relaxing, your mind emptying of all but the events in the novel. Once in awhile you pick up your mug, sip your drink. The house is quiet save for the distant ticking of a clock in the kitchen. You wish this time would never end.
The scene you’re reading heats up. Oh, no! The heroine can’t do that; whatever will become of her? And what about her nemesis – you know he’s still up to no good. Surely he’ll leap from the pages any moment now, aiming his intended miseries at the characters you are cheering. You turn the page. Aha. There he is. Oh, but surely he won’t –-

A fly cruises across the room.

Your eyes flick at it distractedly, then back to the book. You continue reading, devouring the words. Oh, the passions. You can feel the scenes. They sweep you off your feet, transport you. You want to hurry and finish the story to see what happens; you want the story never to end. You’re almost done with a chapter. The evil adversary is turning to the hero and heroine, opening his mouth . . .

The fly buzzes into your family room window, backs up, then buzzes into it again.
Your eyes lift with irritation from the page, first to stare unseeing across the room as you listen, then to blink into a narrowed gaze at the fly. He is annoying. He is large. He is disturbing your peace, your moment. You wish he would go away.

He buzzes, smacks the window repeatedly.

You pull your eyes back to your book. You continue reading, your forehead etched in a frown of concentration.

A few minutes pass. Purposely ignoring the fly, you finish the chapter. Oh, what a hook! What will happen now? You turn the page, eager to continue. Without missing a word you grope for the mug with your left hand, raise it to your lips. Ah, the drink’s still warm.
You read on. The book’s main secret is about to be revealed. You can sense it coming. You think you know, but you’re not sure. You read on, swept here and there as your characters run for their lives. Now through a forest, now facing a raging river. How will they cross? The hero is too weak -–

The buzz-against-glass abruptly stops. Zzzzzz. The fly cruises the room again. He circles your head. You wave him away, still reading. He circles once more, exploring, coming in for a closer look, invading your space. You whisk out a frustrated hand to smack him and miss. He circles. You glare at him now, your eyes following his route. Your mouth tightens; the muscles in your thighs tense. You tap a thumb against the page of your book, reading momentarily forgotten. The fly lands across the room on the television set. You poke your tongue under your upper lip as you stare at it, half daring it to move. It doesn’t.

You inhale deeply. Shift your position. Your eyes return to the page, flitting until they find where you left off. Ah, yes, the river.

You start reading. Within seconds you are again engrossed in the story. The water is rising around the couple; their nemesis is closing in. You’re still not sure of what he wants, what he will do when he reaches them. He is yelling something over the boiling waters, his voice fading in and out of the torrents. The heroine screams at him –-

The fly buzzes from the television and right by you. The sound reverberates in your ears. Then stops. You swivel your head to see the fly crawling, feeling his way with his nasty little legs along the rim of your cup. Anger spritzes your nerves. Your arm flashes out and scares him back into the air. The buzzing resumes – right in front of your nose.

“That’s it!” You throw down your book and push off the couch, seething. The ugly creature flies around the room – your room – like he owns the place. Who does he think he is, disturbing you like that? Can’t you have even one hour of peace in your own house? After all the company and hostessing and work? Can’t you just be allowed to read your book and enjoy yourself for one lousy moment?

Muttering, you swivel on your heel and head for the kitchen, in search of something, anything, to get rid of this creature once and for all. You grab a newspaper section off the kitchen table, roll it quickly and pace back into the family room, smacking it against your open palm. The fly still cruises. You lurch to a stop, your head on a constant swivel as you follow his flight. From the corner of your eye you notice that your book has fallen shut on the couch. Fresh angers jags up your chest. Now that wretched beast has caused you to lose your place!

The fly lands on the coffee table. You stride three steps and bring down the newspaper hard. Thwack. The fly lifts into the air, buzzing even harder. You exhale loudly, cursing under your breath. Fighting your own anger. You were too mad, moved too quickly. You’ll have do this steady-like, smooth. Have to think before you move.

You draw up straight, standing perfectly still, except for your head, still following the fly’s path. The newspaper rests in your palm. You like the feel of it, the deadly force it promises. Now if you can only sneak up on that fly. You even breathe quietly lest it hear you. You command control of your own body, centering your focus on killing the fly – nothing else.

You don’t stop to think that the fly is merely foraging for food he needs to exist. It doesn’t occur to you that he means you no harm, that he’s even seeking a way to get out of your house. You certainly don’t stop to think he may have family – that he may be missed once he’s dead. Such an absurd notion would not last one second within your brain. Who could possibly care about this disgusting creature? And even if someone did, he has invaded your space. He deserves to die!

The fly lands on the window. Your eyes narrow as one side of your mouth curves into a smirk. You are careful this time, oh, so careful. Stealthily, silently, you creep across the carpet. Your fingers tighten around the newspaper. You hardly dare breathe. Three more steps. Your arm begins to draw back. Two more steps. Your shoulder muscles tighten. One more step. You glide to a halt, eyes never leaving the fly. You swallow. Pull back your arm further, fingers whitening around the newspaper. Every sinew in your upper body crackles with anticipation. Then, like a launched rubberband, your arm snaps forward, the rolled newspaper whistling through the air. Thwack!! The force of the hit sends shock waves up your arm.

The fly drops like a stone.

Yes! You’ve killed him!

But wait. Do you go back to your reading? Oh, no, no. You’re not ready to be done with this deed quite yet.

You stand there, breathing hard, eyeing the dead fly. Your arm lowers, your fingers relax their grip. A slow, sick smile twists your lips. Your head tilts slightly, your eyebrows rise.
“Hah!” The word echoes in the room, hard and snide. “That’ll teach you!”

You survey your handiwork, gloating some more, vindictiveness and satisfaction swirling. The fly is such an ugly thing. Black, mangled, dirty. Couldn’t even die with dignity. It lies there, trashing up your nicely-painted windowsill. Your lip curls. How disgusting.

That fly deserved everything it got.

One thing’s for certain, you tell yourself. If any other fly comes along, you won’t waste precious time trying to ignore it. Oh, no, you’ve got the actions down now. Next time, one tiny buzz, and you’ll be off that couch, newspaper ready. It’ll be so much easier – next time.
But enough of that. Suddenly, you must rid yourself of your victim. Its very sight nauseates you. Tearing off a piece of the newspaper, you use it to pick up the body, gingerly, being careful not to touch it. No telling what sort of germs and filth it carries. You walk into the bathroom, throw it into the toilet. Flush it down. Still, you’re not quite through. You watch it swirl faster, tighter, until it finally disappears. You smack down the toilet lid.

Now you are done.

You take a breath. Where were you? What was going on in your life before you were so rudely interrupted? Ah, of course! Reading! You hurry back to your book, your mind already racing to remember where you left off. You throw yourself back onto the couch, pick up the novel, flip through pages, find your last-read sentence.

Two minutes later you are once again engrossed in the story, living and breathing along with the characters. Your house is so peaceful. Life is wonderful. You are happy.

You settle back, devouring the words. Reveling in your contentment. The fly is forgotten.
Almost.

Except for within that one part of you. That one tiny, separate part that cocks an ear, stands guard over your space, protectively listening for –- you might almost say anticipating -– the buzz of the next fly . . .
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Excerpted from Getting Into Character: Seven Secrets a Novelist Can Learn From Actors.

Emotion Memory--Part 2

noreply@blogger.com (~ Brandilyn Collins) — Wed, 18 Nov 2009 14:00:00 +0000

Excerpted from Getting Into Character: Seven Secrets a Novelist Can Learn From Actors.

Miss Part 1? Read it here before continuing.
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When we learn to access our emotion memory, two wonderful results occur in our writing:

o We can far more splendidly write the emotions of those characters whose experiences are similar to our own.

Sometimes we create characters whose main hardships are based on those we’ve faced in our own lives. Still, your character will encounter some situations different – or perhaps worse – than your own, and she will have a Desire and inner values that do not exactly match yours. When her passions must diverge from your own, tapping into your emotion memory will help you discover all the colors of her unique situation. This character can become far more than a mere cut-out of your own experiences.

o We can create characters who are completely different from ourselves – and perhaps even anathema to our own ways of thinking.

Through releasing the sensations of your own experiences, emotion memory allows you a surprising glimpse into souls whom you may have thought you could never understand. You can then enlarge these “glimpses” until you create a complete portrait of a character.

As the previous sentence suggests, emotion memory is not the “be-all and end-all” of your ability to feel your character’s passions. On the contrary, it is only the beginning. It is the seed from which your understanding of a character can grow. Just as a plant also needs soil and water, so you must place the seed of your own emotions in your fertile imagination and creativity. With this mixture of your own emotions and imagination, you can create any character you choose to create.

Let’s look at the steps to accessing your emotion memory in order to discover the passions of a character in a given scene.

o Find an experience or emotion in your own life that is similar to that of your character.

Sometimes this is easy. If your character is experiencing his or her first crush, you’ve probably been through that yourself. Or if your character is at the funeral of a parent, and you’ve lost a loved one, you know the depth of grief. But when our characters face situations outside the realm of our own experience, this step becomes a little more tricky. Then we need to search our own experiences for an emotion that reflects what the character is feeling. Remember, the emotion need only be a “seed” for the passions of your character. For example, if your character faces crushing guilt over causing someone’s death, find a time in your own life when you have felt guilty. It could be a time from your childhood, and it could even be over some relatively minor issue. The circumstances aren’t important and don’t need to match the severity of what your character is facing. What is important is that you felt guilt.

Years ago when I was single, I awoke suddenly one morning, thinking I’d heard a noise in my apartment. I’d been cold during the night and had burrowed down into the covers; the bedspread was over my head. I tensed, listening. Again, I thought I heard something – a footstep entering my bedroom. My heart turned over, scudded into panicked beats. Pull down the cover! my insides screamed, see who’s there! I knew I must. I knew I needed to see what was happening, be ready to move, to jump from bed and defend myself. But in that second, an amazing thing happened to my body. Every limb, every sinew locked up tight, and I could not move a muscle. Do it! my mind screamed – and still I could not move. Internally, I wrenched against myself, willing my arm to grasp the cover bedspread, willing my head to lift off the pillow. And then suddenly my arm lurched. I flung the cover aside, snapped my head toward the doorway.

Nothing. Absolutely nothing. Whatever sound I’d heard had been imagined. I felt quite foolish.

A moment later, when my heart had slowed to a normal pace, I realized I’d discovered an amazing truth. I’d discovered that a person really can be “frozen in fear.” That minor incident of imagined danger hardly seems comparable to a scene in which my character faces a real intruder and her very life is at stake. But, again, the circumstances aren’t important. I was frozen in fear. That small, otherwise insignificant event in my life, no more than five seconds from start to finish, was a powerful experience of raw fear. When I need to, I can expand upon my emotion memory of that event to write believably of a character’s fear – even if she’s facing death.

o Relive your own experience by telling it out loud to yourself.

This is where the “getting personal” really begins. You may at first feel inhibited or even scared, depending upon the emotion. But this is not the time to hold back. Find a time when you can be by yourself and uninterrupted.

Tell your experience to an imagined, captive audience, relating every detail you can remember, using all your five senses, if possible. First describe the setting. Then describe your actions and emotions, one by one. Get up, move around if you like. Act out the events.
Are you reliving a moment of excitement? Tell your experience until your eyes shine with the memory. Are you reliving jealousy? Tell it until you feel the fire in your stomach. Loss? Tell it until you can feel the pain. Don’t stop to take notes, to record your emotions. Just feel them.
o Add any external stimuli that may help you relive the memories.

Is there anything that might help you in the retelling of your experience? A picture? Certain object? Certain smell, such as a perfume? Music? Use anything you can to help release the memories.

o Once you have connected with your own emotions, use them as the seed for those of your character.

This is the step in which all the rest of [the techniques covered in Getting Into Character] come into play. Once you connect with your own emotions, once you fully remember how fear or grief or joy feels, you need to blend this knowledge with everything else you know about your character. What are your character’s action objectives in the scene, and how could these emotions translate into them? What is his inner rhythm, and how can he show it? If he’s talking with someone, will he be honest about his feelings or will they be subtexted? Write your scene infusing all of these things. Your renewed memories of the emotion, plus all you know of your character, will blend together to create a vivid and believable scene.

Now, with all this “dipping into the well,” how do we keep our own reserves filled? For as surely as water can run low, so can our emotion memory.

o Keep the resources for your emotion memory filled by watching others and most of all, yourself

There’s no way around it – strong writing requires an intimate knowledge of humanity. The only way to gain that knowledge is to live life to its fullest and to watch and record it as though your very life depended upon it. In fact, your writing life does.

First, you can refill your emotion memory by watching others, mentally recording their actions and perceived emotions in certain situations. Perhaps you’ve never been in a non-injury car accident but have observed one. How did those involved react as they hurried from their cars? How did others act as they stopped to help? Even more importantly, how did you feel as you sympathized with these people? As we sympathize with others, we transfer their feelings into feelings of our own.

Second, you can watch movies and plays, read books – always with the goal of recording emotions. Third – and most of all – you can watch yourself. Now that you’re aware of the emotion memory within your subconscious, you can actively record your own feelings in a way that will keep them closer to the conscious level, more readily available when you need them for writing.

I’ll confess something. No matter what I’m going through, no matter what my emotion, even in moments of greatest joy or sorrow, there is a little part of me that disconnects to float to the corner of the ceiling and observe. Whether I laugh or cry or sink to my knees in despair, this writer side of me looks on quite objectively, watching, recording. Saying, “Hm. I’ll have to remember this.” If I don’t feel her in the midst of my passion, I feel her only seconds later, scrambling to take it all in, to remember the emotions in all their colors.

Remember to watch your “insignificant” moments as much as you watch major events in your life. As we’ve noted, a seemingly insignificant experience can unleash a powerful emotion memory. In fact, only when we discover this truth can we employ emotion memory to its fullest.

Richard Boleslavsky, a director from the Moscow Art Theater, wrote an amazing little book called Acting, The First Six Lessons. In his lesson on emotion memory he tells an aspiring young actress, “We have a special memory for feelings, which works unconsciously by itself and for itself. It is in every artist. It is that which makes experience an essential part of our life and craft. All we have to do is to know how to use it.” These memories, however small, Boleslavsky continued, are “just waiting to be awakened. And what is more, when you do awaken them, you can control them in your craft . . . You command them.”

The young actress asks, “Suppose I don’t find a similar feeling in my life’s experience, what then?” Boleslavsky replies that anyone who has lived a normal existence has experienced to some extent all the emotions of mankind. The woman challenges him. Surely this can’t be true. What if she must play a murderer? She has certainly never murdered anyone or even felt the slightest desire to do so. Hogwash, replies Boleslavsky. (My paraphrase.) Ever been camping when mosquitoes were around? he asks. Ever follow one with your eyes and ears, your hate spurring you on, until you killed it? The actress admits that she has. “A good, sensitive artist doesn’t need any more than that to play Othello and Desdemona’s final scene,” Boleslavsky declares.

What a startling thought!

Emotion Memory--Part 1

noreply@blogger.com (~ Brandilyn Collins) — Tue, 17 Nov 2009 14:00:00 +0000

In my how-to book on writing fiction, Getting Into Character, I take seven techniques from the art of method acting and adapt them for writers. One of those techniques is Emotion Memory. It's a new, uncharted concept for most novelists--and it's one of the most effective techniques you can learn. In the next few days I'll run excerpts from the Emotion Memory chapter. It's the last chapter in the book, so you will see references to other concepts GIC covers. Let's begin.
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ACTOR’S TECHNIQUE: In bringing forth the emotions of a character, an actress relies on her own emotion memory to re-create within herself all the sensations and feelings appropriate to her role at the moment. Emotion memory is rooted in the actress’s past experiences and can be evoked through such things as a smell, a picture or thought. Other times it is more slowly and purposefully recaptured through retelling of a certain past experience.

NOVELIST’S ADAPTATION: An author carries within herself the seed for every emotion and desire she may create within a character, no matter how foreign that desire may seem to her on the surface. When an author learns how to tap into her emotion memory, she will release herself from every “I-can’t-write-that” fear. The world lies at her feet.

Time to get personal.

Up to this point, we’ve focused on your character. By now you have a clear understanding of how important it is to know your character from the inside out. We’ve discovered who he is -– his inner values, traits and mannerisms. We’ve discussed his action objectives, his inner rhythm, his motivations for subtexting, the widely varied colors of his passions. Now we’re going to talk about you.

Like it or not, the truth is this: your character’s emotions begin with you. You are the well from which every passion of your character – every tremble and smile and tear and jealousy – will be drawn.

As a novelist, you are much further removed from your audience than an actor. An actor displays his emotions directly in front of an audience, who can see the movements, the facial expressions, hear the tones of voice. But you must (1) create your characters’ emotions in your own mind, then (2) effectively describe those emotions on paper. From that point, (3) your audience has to read your words and finally (4) re-form the images of those emotions in their own minds. It is so easy for those emotions to lose their depth of meaning in any one of these steps. One thing is certain. In light of how far removed your audience is, if you want your readers to feel the passions of your characters in all their glory, you – being at the starting point – will need to feel them to their absolute fullest yourself.

But how to do this? How to plumb the depths of the well of emotions within you, rather than merely skim the surface?

Once again we look to the art of method acting to guide us. How does the method actor believably portray the unique emotions and desires of different characters? Particularly when his character faces conflict that he, the actor, has never faced. Answer: he taps into the well of his emotion memory.

Emotion memory was first spoken of by the French psychologist Théodule Ribot, who called it “affective memory.” Constantin Stanislavsky [the "father" of method acting] explained this “affective” or “emotion memory” as the kind of memory that makes a person relive all the sensations he felt when faced with a certain situation. Emotion memory can fill him anew with the feelings of that moment, even though these feelings may have long before sunk into his subconscious. These are memories in their most pure, distilled form. Time simmers them just as a sauce simmers on the stove until excess liquid is gone and all that remains is potent, blended flavor.

A friend of mine once told me of cleaning her kitchen after baking on a hot summer day. When all the pans and utensils were washed, she flicked on the garbage disposal. A familiar smell wafted from the sink, a smell caused by the combination of items she’d used in the baking – oranges and cloves and cinnamon. In an instant, that smell transported my friend to Christmas – the remembrance of oranges and applies stuck with cloves, bobbing in hot cider. That rich, sweet, heady scent filled her mind with scenes of celebrating the season with family – the joy of opening presents, the frustration of awaiting her turn in the bathroom, the biting cold of caroling house-to-house, the sadness of saying goodbye at the airport. The emotions of the season in their vibrant colors, the deep meaning of the Christmas celebration –- all these memories released themselves from my friend’s subconscious, sweeping her in one instant from a hot summer kitchen to Christmas. Merely because of a smell.

Any one of our five senses, or any combination of them, can release vivid memories like this one from our subconscious. The problem is, we can’t count on such serendipitous moments to trigger the emotions we need to feel while writing a certain scene. As we all know, emotions have minds of their own. They are often fleeting, teasing, no more than vague, ghost-like impressions.

“Our artistic emotions,” Stanislavsky told his students in An Actor Prepares, “are at first as shy as wild animals, and they hide in the depths of our souls. If they do not come to the surface spontaneously, you cannot go after them and find them. All you can do is concentrate your attention on the most effective kind of lure for them.”

Because we need them, and they don’t always appear at will, we have to learn how to access them. Through conscious effort, we can tap into our emotion memory, causing subconscious feelings to rise to the surface, much as a well-digger taps into a hidden spring, and suddenly fresh water bubbles forth.

When we learn to access our emotion memory, two wonderful results occur in our writing ...
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Tomorrow--Part 2: Tapping Into Your Emotion Memory

Taken from the chapter on Emotion Memory in Getting Into Character: Seven Secrets a Novelist Can Learn From Actors.

Got Topic?

noreply@blogger.com (~ Brandilyn Collins) — Mon, 16 Nov 2009 14:00:00 +0000

What topic would you like to see covered on Forensics & Faith?

If you've been with this community for awhile, you know you're likely to see posts on:

~ the craft of fiction writing
~ the life of a writer
~ industry news
~ marketing
~ new novels, especially suspense

plus:

~ an occasional guest post from someone in the industry
~ occasional posts on the Christian journey

Do you have suggestions for topics within those general categories? Do you know someone who could write a guest post on a particular subject? Or perhaps want to suggest something new? Let's hear it!

Psalm for Sickness

noreply@blogger.com (~ Brandilyn Collins) — Fri, 13 Nov 2009 14:00:00 +0000

I'm continually praying for many Christian friends who are very sick. As many of you know, I use the psalms to pray for people. Nothing is more powerful in prayer than God's own Word. Psalm 31 is a particularly good one to use to pray against illness.

Here's the BPV (Brandilyn's Prayer Version) for Psalm 31 (based on the New American Standard Version.) Just fill in the name(s) of your own friends and family members--or maybe pray it for yourself.

In You, O Lord, ____ has taken refuge;
May she (or he) not be ashamed.
In Your righteousness deliver her.
Incline your ear to me--rescue her quickly.
Be to her a rock of strength, a stronghold to save,
For You are her rock and her fortress.
For Your name's sake, lead and guide her.
Pull her out of the net this illness has laid for her,
For You are her strength
Into Your hand I commit her, Lord.
Ransom her, O God of truth.

I hate the regarding of vain idols,
But I trust in You, Lord.
I will rejoice and be glad in Your lovingkindness,
Because You have see ____'s affliction.
You know the troubles of her soul.
Don't give her over to the hand of this enemy.
Set her feet in a large place.

Be gracious to ____, Lord, for she is in distress.
Her eye is wasted away from grief, her soul and body also.
Her life is now spent with sorrow and sighing.
Strength fails her, and her body is wasting away.
Because of her illness she may feel like she's a reproach to her neighbors,
An object of dread to her acquaintances.
Some may not want to see her.
She may feel forgotten, our of mind, like a broken vessel.
She may have heard the words of many that terror is on every side.
Illness takes counsel against her, scheming for her life.

But she trusts in you, Lord, and I trust in You.
For You are our God.
Her times are in Your hand.
Deliver her from the hand of this illness and from its persecution.
Make Your face shine upon her.
Save her in Your lovingkindness.
Let her not be put to shame, O Lord,
For she calls upon You.
Let this illness be put to shame, let it be silent.
Let lying lips be dumb that speak arrogantly against ___
With pride and contempt.

How great is Your goodness,
Which You have stored up for ____.
Which You have wrought for ____,
Because she takes refuge in You before the sons of men.
Hide ___ in the secret place of Your presence from this illness.
Keep her secretly in Your shelter from the strife of this disease.
Blessed be Your name, Lord,
For You have made marvelous Your lovingkindness to ____
During this besieged time.
If she says in alarm, "I am cut off from God's eyes!"--
Even then You hear her prayers and supplications when she cries to You.

I love You, Lord, I and all Your godly ones.
I know You preserve the faithful and fully recompense the proud doer.
Help ____ be strong. Help her heart take courage
For she hopes in You, Lord.

-- Amen.
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Who can you pray this psalm for today?