One of my Favorite Characters, Sister Grace

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I’m excited to blog today about one of my dear characters, Sister Grace, for two reasons:  First, her second book came out this month—Live and Let Fly.  Second, her story, Siren Spell, comes out today from Flying Island Press.

Sister Grace is not your typical nun.  First of all, she’s not from our world.  She was born in Ireland, but in the Faerie dimension, where magic, elves, demigods and all manner of unusual creatures are a fact of life.  Secondly, she’s not fully human—but I’ll let you read about that in Flying Island.  Suffice to say, it gave her some very powerful magical ability, which for the safety of herself and everyone, were consecrated to God when she was very young,  Currently, Sister Grace is partnered with a dragon, Vern, and they run a private investigations agency here in our world.  Most of the time they handle mundane (and Mundane) cases like finding lost animals or assisting the police when magic might be in play.  Every so often, they have to take on major supernatural baddies  to save our world and Faerie.

Grace is the perfect complement to a snarky, cynical and sometimes selfish dragon.  She’s got the spunk—and the grace—to keep him in line and following God’s direction more willingly than he usually does.  She’s also helped him enjoy his current situation.  Vern is good for her, too—she feels protected and secure with him, and he makes her laugh, which she hadn’t done for a long time before they met.  He also gave her the confidence to use her magic again after having faced some difficult temptations at the hands of some demons.  The two love each other dearly—which makes things a little awkward when Vern turns human for the case in Live and Let Fly.

That’s what I love about Grace, though.  She’s spiritual and utterly devoted to God, but she’s nonetheless human.  She’s been known to lose her temper, grab people by the ear, even get into magical spats with other beings.  She lets Vern get away with stuff now and then.  (Check out Vern’s “Apologia on Extortion,” http:// flowersonthefence.blogspot.com.)  But she’s also ready to sacrifice herself for others and always ready to follow God’s call.  And her reaction to seeing her very best friend as a gorgeous guy?  “Mary loved her sweet Joseph, and there have been plenty of married but celibate saints.  I’ll be fine.  But, just don’t touch me.”

Spirit, spunk, and a big dose of practicality.  That’s Sister Grace.

About Live and Let Fly:

The magic is Faerie.  The technology, Mundane.  When they meet, the survival of the world rests in one dragon’s…er…claws.  See Vern as you’ve never seen him before!  

For a dragon detective with a magic-slinging nun as a partner, saving the worlds gets routine. So, when the US government hires Vern and Sister Grace to recover stolen secrets for creating a new Interdimensional Gap– secrets the US would like to keep, thank you—Vern sees a chance to play Dragon-Oh-Seven.

No human spy, however, ever went up against a Norse goddess determined to use those secrets to rescue her husband. Sigyn will move heaven and earth to get Loki—and use the best and worst of our world against anyone who tries to stop her.
It’s super-spy spoofing at its best with exotic locations (Idaho–exotic?  Well, it is to them!), maniacal middle-managers, secret agent men, teen rock stars in trouble, man-eating animatronics, evil overlords and more!

Here’s an Excerpt with Vern and Grace talking the details of a case:

“Sure it was 2:30, exactly?”

Grace pulled off her shoes and massaged her feet. Then she wiggled her toes. She’s never cared for shoes. “They didn’t say exactly. Why?”

“Something about that time…”

Grace waited patiently while I mulled it over, then wracked my brains. Once upon a time, everything I learned I remembered; now “Wisdom of the Ages” is just a tag line on my Yellow Pages ad. I had my excellent memory back, but only of more recent events, and not always with perfect recall. There was something about the Gap and 2:30. Two-thirty. Two hundred thirty. Two-Three-Oh…

I felt more than heard Grace begin a prayer. She did that sometimes, prayed that a particular bit of knowledge would come to me. In fact, in our first case, her novena caused me to translate a popular song that turned out to be an ancient summoning rite—just in time, too.

I let it go. If there was something about the time we needed to know, God would help me remember. I settled myself down, arms tucked under my chest, and said my own dragon-style prayers until I saw Grace cross herself. “Hungry?”

“Ach, no. I’ve been filled with snacks.”

“Sure, nuns get pastries, but who feeds the dragon? After all, by now they know I prefer lunch meat over lovely maidens.”

She chuckled. “Well, someone hit a doe on the Gap road. Randy asked me to see if you were interested.”

“Best tip I’ve had all day. So how was the wedding?”

“Beautiful. Very simple, very heartfelt. A pleasure to sing at.”

I couldn’t help but grin at Grace’s starry gaze. Who said nuns can’t be romantics, too?

Then her expression changed. “Vern, do ye not think it’s time to apologize to Kitty?”

“Apologize?” I resisted the urge to ask, “What for,” since she’d come up with a list as long as my tail. “If I apologize to McGrue, she’ll only take that as evidence that she’s won somehow. That woman is as bad as—”

“—a dragon?”

There were times I’d rather face McGrue’s accusative stares than Grace’s guileless looks. Couldn’t she at least arch an eyebrow or something?

“I’m going to see what I can pick up at the Colt’s Hoof,” I growled on my way out.

Purchase on Amazon:  http://tinyurl.com/amazonllf

Purchase from Publisher: http://tinyurl.com/LiveAndLetFly

Lions and Tigers and Bears! Oh, my! Tension, Conflict, and Suspense – Creating Compelling Stories

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One of the most fundamental techniques of fiction writing is skillful creation of tension, sometimes referred to as conflict. Our favorite authors hook us on page one with a character so compelling that we read further to find out what happens. The character is engaging, with likeable traits that endear them to us, even if they have rough edges or find themselves in untenable situations that force a choice, a decision they wouldn’t normally make.

Therein lies a clue to a story that draws a reader in. Tension. Conflict. A mystery, a question, something out of the ordinary, an event that pushes the character out of their ordinariness. Suspense. What happens next? And why does the reader care?

Tension can be internal or external. Events that influence a character’s life are external (think plot). What goes on inside the character’s mind is internal – and don’t we all identify with (and love) characters who struggle with their own doubts yet persevere and triumph in the end? Stories have more depth if the character must face both types of conflict. Literary fiction often focuses more heavily on the internal, while suspense and thrillers lean toward the external, but the very best of any genre incorporates both.

Take some time – ten minutes or an hour – to think about your characters. What drives them? What are their core beliefs? What do they want (both their conscious goals but also their unconscious, deepest desires)? What obstacles exist to their attaining those goals? Can you come up with a Goal-Motivation-Conflict statement for each character? (Below, based on Debra Dixon’s book, Goal, Motivation and Conflict) How about doing this for an internal GMC as well as an external GMC? The best GMC statements pit the main characters against each other on all levels, with a worthy adversary throwing even more wrenches into the works. An extremely successful author friend (Katie McGarry) adds one more twist: in order for the hero/ine to achieve their highest goal (usually the internal, unconscious goal) they must sacrifice the thing that they initially thought meant the most to them.

Fill in the blanks: Sally wants ____  because ____, but ____. John wants ____ because, but ____.

Notice, this looks like the back copy of a book – and it can also serve as the basis for a pitch, either verbal or written. It also serves as a down-and-dirty template for your book, if you write without an outline.

Once you’ve come up with a general idea for your story, you can use this technique for each scene in the book. In each scene, make sure you know what’s at stake for the Point-of-View character. What does the character have to gain or lose? Make it a crucial goal (James Scott Bell refers to it as ‘death’, a risk of personal or professional failure of grand magnitude), then get right to it, using dialogue, action, reaction. Add obstacles, and let the character go to battle.

But the secret to end-of-scene suspense is…to cut away, to leave the scene before ‘the answer’ is revealed. Leave the character in a quandary, the question unanswered. Or introduce a new complication, complete with a hefty cost to the character.

These questions, both at the beginning of a scene and the end, are called ‘hooks’ for an obvious reason. Like fish, we are lured into the story, and get ‘hooked’ so it becomes difficult to put the book down. (As I glance at the bedside clock and mutter Just one more page…, then look up again a half hour and thirty pages later, realize how short on sleep I am going to be, and mutter Just one more page again! Don’t tell me you’ve never done that!)

Other strategies for managing tension include word choice and sentence structure. Choose each word carefully, to reflect the exact mood you’re trying to create. Smooth, languid words setting the stage, perhaps, then more active words leading up to an explosive eruption of emotion or action. Stretched-out, descriptive sentences for the set up; short, fast ones for the pay off.

As with all great writing techniques, there are caveats. Don’t ‘make stuff happen’ just to make stuff happen. The plot needs to unfold in a way that is authentic for the book and for your voice. Resist the urge to overdo. Hooks, suspense, tension, conflict – these can all be very subtle. Trust your reader to understand without spelling it out or hitting them over the head with it.

Tension boils down to posing a question, grappling to find an answer, then ending with another question. Do it enough times, and you have a book – a gripping book that the reader stays up way past bedtime to finish.

And that’s the kind of book you want to write!

Marketing Your Self-Published Book

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After years of creating, editing, polishing and many revisions, the last line of your book is written.  You have sent it off to the printer.  You are finally finished!  Now you can sit back, kick up your feet and relax while your book becomes a bestseller.

Wrong.

For the self-published author, the writing of his or her book only comprises 10% of the work.  In my experience, 90% has been promotion and marketing.

I’ve put together some pointers that might help the novice self-published author.  These are things that I have learned from ten years experience as a self-published author, things that will help you to market your book.

One: Produce a quality book    There is no substitute for a quality book.  Don’t take short cuts! Hire a professional editor and cover designer.  Hire a book coach…please produce a quality book.  If you publish a poor quality or mediocre book, no amount of marketing is going to help it sell.

Two: Create a website for your book, along with a book trailer.  Here is my second novel’s website and book trailer: In Name Only.

Three: Attend local Catholic conferences    Since I was writing Catholic fiction, the first thing I did as a new author many years ago was to attend a local Catholic conference.  I sold 22 books at that conference. I use the word “local” because obviously there will be expenses for attending out-of-town conferences and an author must weigh the cost of attending to the possible income to be made.

Four: Ask friends, relatives and anyone who is willing to write a review of your book. This has been helpful, although friends and relatives can sometimes go overboard writing gushing reviews.

Five: Social networking/Web Presence  Ten years ago, the only social networking sites available were blogs. I didn’t have time to start writing a blog, but I did join Facebook way back in 2006 in order to keep any eye on my teenagers. As my friend list grew, it turned out to be a wonderful marketing and promotion tool.  Join Twitter, Facebook, Pinterest, Linked in, Google plus.  (BTW, feel free to follow me on any of these sites and I will follow you back!) Make a Facebook page for your book.

Social networking takes time, but these websites can be a tremendous help in promoting your book.  Once my boys grew a bit older, I began writing a blog. I also write columns for four different websites and I try to comment frequently on other blogs.

Six: Enter your book in book award contests   A major award has the potential of selling books. I entered my first book, Emily’s Hope, in the 2006 IPPY Awards.  Although I didn’t walk away with a medal, they sent me an “Honorable Mention” certificate and a few stickers.  When I entered my second book, In Name Only, in the 2010 IPPY Awards, I had no aspirations of winning anything.  When I found out I was a finalist, I automatically assumed I would receive a Bronze medal.  Later, I was shocked to discover my book had won the Gold Medal!

Although it doesn’t claim to be all-inclusive, this link contains a list of self-publishing contests to enter: http://www.selfpublishingreview.com/blog/2009/01/self-published-book-contests/   Be aware that most of these require an entry fee.

Seven: Release your book as an e-book at a reasonable price (more on e-book pricing in a future post).  I wrote about Kindle books in a post last year on this blog.

Putting my books on Kindle has been the single most important marketing device for me.  To illustrate this, let me state that in the first six years of my writing career, I sold a total of about 2000 print books, and these sales were mostly from conferences I attended.  Last year alone, I sold 5000 e-books and 500 print books (not too bad for a relatively unknown author). In the last six months, over 60,000 people have downloaded my books.  Some of these were free promotional downloads, but after the free promotions were over, I saw a spike in sales for all three of my novels  (5,000 books SOLD in nearly two weeks).  All three of my novels have been in the top ten of Religious and Liturgical Drama for three months, and most of the time, they are in the top four.

Because a self-published author doesn’t have a publisher to help them market, we should add “marketing” to the long list of things we must do ourselves.

You may have just written a literary masterpiece.  But if you don’t promote it, it will be destined for oblivion.

Copyright 2012 Ellen Gable Hrkach

Image purchased from iStock.

RAH-RAH ROOTING FACTORS! How to make your readers love your characters as much as you do.

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What’s one of the biggest reasons you keep reading when you pick up a new book? Think about it for a moment. For me, it’s characters who are interesting, multi-dimensional, unpredictable…and likeable. Yet this is an element many of us struggle to achieve. One of the most common phrases in rejection letters is “I just didn’t connect with the character(s).”

So, what does that mean to us, as fiction writers? It means we must draw our readers into the story with the very first sentences, and to get them invested in the characters well before the end of the first chapter, maybe by the end of the first page. This is a tall order—especially when we read our favorite authors and marvel at how easy they make it look.

I don’t know about you, but I can see my characters vividly in my mind’s eye, and am truly astonished when my critique partners don’t fall in love with the characters. Passionately! As an author, it is incumbent upon me to portray those characters with all the tools at my disposal. I’d like to share a technique that is simple, yet extremely effective.

Rooting factors. Yes, as in rah-rah, go hero/ine! These are characteristics that show your hero or heroine in an endearing light. Details that allow the reader to bond with them…to root for them. What you’re after is any trait that is positive, but especially universal ones like humanity, vulnerability, generosity, etc.

As Blake Snyder says in Save the Cat, an excellent resource on screenwriting, the opening scene is critical. We must give the reader a reason to like our hero or heroine, even if (or especially if) they have rough edges or have a lot of growing to do through the book. In Snyder’s example, the character swerves from his purpose (which can be dark or suspenseful or comic) in order to do a good deed…i.e., save the cat from certain calamity. This demonstrates our hero’s kind side, and when he goes on to shock or distress us with his struggles, we recognize that he is a good person who has been forced into an untenable situation. And we root for him!

This is what keeps readers turning the pages, this ‘liking’ the characters. Go to your favorite novel. Right now. Open it up and analyze the first chapter for characteristics that are likable (and therefore create a bond with the reader). Chances are, you’ll find a fairly long list.
Be careful to salt these rooting factors in carefully. They must be organic to the story and the writing. This should never be a laundry list. “The heroine was feisty, yet compassionate, and she was bluntly honest without being cruel, and her moral compass never wavered.” No. Work the rooting factors into the normal activities of the character’s world. Use dialogue and action to show why the character deserves the reader’s investment.

This is a particularly effective technique for characters who may not be all that likable at the beginning of the story, those who have a long way to go before they learn their life lesson or earn their reward. They have legitimate flaws. That’s what makes them interesting. But they also have some innate goodness that allows the potential of redemption. Here’s a secret regarding the villain: the most compelling villains have some good traits, too. After all, the worst part about villains is that we can see ourselves in them.

Here’s an example from my current work in progress. I have a potentially difficult task. My heroine has just been released from prison and is looking for a job. In the first sentence, she demonstrates a deep level of respect for her fellow man when she murmurs “Excuse me” to a pedestrian who bumps into her. And she does so without regard to the discomfort, even anxiety, the other person’s proximity causes her—which demonstrates her vulnerability and humanity. What’s not to like about our heroine, right off the bat? A page later, she picks up a plastic bag out of concern that small animals might get trapped in it. Her prison history, while central to the story, is not revealed until the end of the chapter. And by the time the reader gets there, hopefully s/he is so invested in the character that they are willing (and eager) to read further.

Here’s your homework assignment: Reread the first chapter of your current work. Can you ramp up rooting factors for your characters? See what you can do, and if it improves the work. It has mine, and it took me four years too long to figure out. I hope it’s not as long for you!

What’s it all about? How Theme can help your story shine.

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Theme comes in lots of shapes, sizes, and variations, but embodies the core of what something is about, whether it’s your brand as a writer, the story you’re writing, the characters you’re writing about – or the music you’re listening to while writing. So what is theme, and how can it help focus and clarify your purpose as an author?

Theme is the underlying idea that makes something tick. It is pervasive and affects everything about the whole, without being overt or overbearing. In fact, the best practical expression of theme in writing rarely shows up as words on paper. Rather, theme directs the words in order to come up with a finished product with specific meaning at a deeper level.

Let’s look at theme from the big picture to the more detailed aspects. First is your theme as a writer. Why do you write? What do you hope to accomplish – and how are you different from the thousands of other writers out there? If you’ve never written a mission statement for yourself, this is a great exercise. The answers to these questions can keep you focused and motivated. A bonus for taking a few minutes, hours, or weeks to analyze your purpose is that you may come up with a brand, a concise statement of why you are unique and what you have to offer your readers. If you’d like to take more time to contemplate your calling as a writer, Lent is a perfect time for reflection. Use it!

On to story. What are you writing about? Not the plot – what happens – but the deeper meaning? This is the place for clichés. Not in the writing, but in your mind. Clichés tend toward the universal, and that’s what you’re after here. Identify the most resonant concept underpinning your story. Love conquers all… People and relationships are more important than one-upping the Joneses… Revenge, or mercy? Man against nature/beast (human or otherwise)/impossible odds, etc. Once you nail it down, make sure that the theme drives every scene in the story. Don’t beat the reader over the head with it—theme is best conveyed through subtlety—but your awareness will influence the words as they pour forth. Theme will provide conflict and growth throughout the book, even if each scene doesn’t have an overt thematic question.

One caveat about theme (a very large one), as it relates to story: Do not use theme to further your agenda. Readers will pick up on it and put your book down. Let the characters struggle with the issues in a natural, organic way; don’t have them act out a morality tale. Ellen Gable Hrkach alludes to this aspect of theme in her post on Feb. 13, 2012, Improve the Odds for Self-Publishing Success. Her first book, Emily’s Hope, enjoyed modest sales to a narrow audience. Please note, there is nothing wrong with this; if your mission is to be the voice for an issue, or you write without regard to readership or sales, that is your prerogative. Ellen stated, in writing that particular book, if her words touched one person, she would have achieved her goal. She clearly succeeded. But Ellen then wished to engage a larger audience. What did she do? She chose to widen the scope of theme in subsequent books – which are selling more briskly. So the idea of theme circles back to one’s theme as writer, which will inform your choices of theme in specific works.

Which leads us to the third level of theme. Characters. Each character should have a core belief or value that can be summed up in a short phrase. Duty first… Me first… Life is an adventure! Life is dangerous… Again, clichés rule here. What is most important to each individual character, i.e., what will they fight to the death for? The flip side is critical, too. What conflict will the character walk away from, and why? Once you understand your characters, keep that core belief in mind as you write. Your characters will stay true to themselves and their motivations, making for a book that readers will remember long after they’ve finished it. A bonus at this level: Your character’s theme is always a two-edged sword. Use it. Create conflict with it – and then find a way for the character to grow. By the end of the book, their theme may have changed; at the very least, they will live it in a deeper manner, and the reader will love them (and you) for it.

Do you consciously use theme in your writing? If so, how? Or, as you look back on your work, can you see theme at any of the three levels we’ve examined?

Increase The Odds For Self-Publishing Success

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When I began writing my first book, Emily’s Hope, ten years ago, I did so thinking, “If just one person can read my book and feel they’ve learned something, then I’ll have reached my goal.”  It never even occurred to me to “make money” with my books.  But, eight years and three books later, I am making a nice supplemental income.

The average self-published book will sell fewer than 150 copies (and most of these will be to the author’s family and friends).  That isn’t even enough to pay for your printing and/or editing expenses.

Remarkably, self-published novelist Amanda Hocking, has sold 1.5 million Kindle books. And while that is unusual, many self-published authors ARE selling books and making money.

So what is the difference between successful self-published books that sell thousands of copies and ones that only sell a few hundred or less?  And what can you do to increase your chances of selling more books?

1)  Quality of Writing
There is usually (although not always) a difference between self-published books that sell thousands of copies compared to those that only sell a few hundred and it’s most often in the quality of writing.  Please, please, please don’t just accept praise from your friends and relatives telling you that your book is the greatest masterpiece ever written.  Give your manuscript to a professional editor, as well as a copy-editor. Humbly consider their advice.  Once you’ve finished editing, ask those friends who think your book’s a masterpiece to proofread it for you.

My spiritual director once told me that editing a manuscript is like polishing a diamond. The more you polish a manuscript, the more the brilliance shines through.

It takes a lot of work to write the first draft of a book. However, in my experience, it takes a lot more work to edit, polish, edit some more, polish some more until the book is ready for publication.

2)  Eye-Catching Professional Cover
If I had a dollar for every self-published book that had a poorly designed or downright bad cover, I’d be able to take my family out to dinner weekly for the next month.

A book’s cover is the first image a perspective buyer/reader sees, whether it’s in print or on Kindle.  The cover MUST be professionally produced, aesthetically pleasing and tell the story of a book with one glance.  Learn more about making a good cover from my post on covers entitled “Discover Your Cover.”

3)  Extensive marketing versus minimal marketing
This is the one thing that can make or break a book, in my humble opinion.  There are many, many outstanding (even brilliant) self-published books out there that are going virtually unnoticed because the authors have done little or no marketing.

Writing the book is only a small part of the success of a book.  In my talk at the Catholic Writers Conference Live last year in Philadelphia, I spoke about the importance of marketing: blogging, social networking (Facebook, Google Plus, Twitter, Linked In), blog tours, Kindle e-books.  Marketing takes 90 percent of my time.  But then again, I’m a social person. I like connecting with people on Twitter or Facebook. I enjoy a lively conversation on my blog. I enjoy commenting on other bloggers’ posts.  If an author is not willing or doesn’t have the time to market, this will show in sales.

4) Target Audience is Too Small
Sometimes an author will write a book directed to a smaller target audience. This has definitely been an issue with my first book, Emily’s Hope, which some people have coined as “NFP Fiction.”   Since NFP-users probably make up a very small percentage of women who read, my target audience for that book is decidedly small.  Most readers don’t even know what NFP is, so it’s not a book they would normally pick up.

My second novel, In Name Only, is very different from my first book.  Although the characters are Catholic, it’s not as genre specific. It’s an historical romance, which makes it more appealing to the female population.  It’s not as religiously thick, so secular readers can enjoy it as much as Christian readers.  It has been my most popular book thus far, selling hundreds of e-books a week on Amazon Kindle, often attaining the #1 position in Religious Drama.

Most self-published books sell an average of 150 books.  You can increase your odds of selling more than that by considering the following factors: quality of writing, eye-catching cover, good marketing and a wide target audience.

Keep these things in mind for a successful self-publishing experience.

copyright 2012 Ellen Gable Hrkach

photo purchased from iStock

Ellen Gable Hrkach is an award-winning, bestselling author of four books. She will be doing two presentations this year at the Catholic Writers Conference Online: Self Publishing: From Draft to Quality book and  The Future of Self-Publishing: E-Books.

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