Awesome Writer Spotlight: Mary E. Pearson (again)

Vow of Thieves, the new low fantasy book by Mary E. Pearson, was the one book I’ve been looking forward to reading this year. I do this weird thing when I anticipate a book: I let it sit on the shelf when it arrives. That’s weird right? Here’s my theory: I want to savor it, so I draw out the anticipation. Okay. Yeah. Whatever. A twist in this strange behavior was that when Vow of Thieves released, August 6, it was the day before I left for Prague, so I forced myself to leave it on the shelf until I returned. I couldn’t wait to crack it open and did as soon as I got home. Then I forced myself to read it slowly, because I wanted to enjoy it like a fine dining meal.

I wasn’t disappointed. The joy and magic I found in the first installment of this duology, Dance of Thieves (review here), still existed in Vow of Thieves. Not only that, I found the quality of the storytelling built along with the narrative (which can’t always be said for a series). What I loved about the first book (as well as The Remnant Chronicles) is Pearson’s incredible voice, the flow of her words, the excellent dialogue, the imagery she’s able to articulate to engage all of my senses, the way I’m able to connect to the fantasy with ease, and then to hit me in the heart so I’m feeling the feels right along with the characters. 

And about those characters, particularly Kazi and Jace, they are sensational. Besides being developed so thoroughly to make them three dimensional on the page, Pearson is able to make them seem like people I’ve been invested in for years. One of the struggles as a writer is maintaining tension, especially in a series or a book with romantic elements. When the hero and heroine finally find one another, that is usually the climax to the denouement of a story. Pearson, however twisted it. She got our hero and heroine together and then found a way to bring the tension up 100 notches but not in a way you would expect, which made the narrative that much richer. 

I loved this conclusion to the Dance of Thieves Duology. I’ve been very open about being a fan of Pearson’s work. This book reinforced my admiration for her as a writer, and my love of her work as a reader.

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Awesome Writer Spotlight: Mary E. Pearson

It’s no secret. I’ve said it before: I do a lot of reading. King said it best, “If you want to be a writer you must do two things above all others: read a lot and write a lot. There’s no other way around these two things that I’m aware of, no shortcut,” (On Writing). Last year, I read fifty books and have made it through 22 books so far this year. I read, and I’ll read most anything, from romance to suspense, to YA and MG, to fantasy and contemporary, from fiction to nonfiction, reading is my lifeblood. While I like stand alone novels, I’m a sucker for a kickass series, and adore well written fantasy. Needless to say, I’m always on the lookout for a good book. Last year, on Instagram, a noticed a recommendation for The Kiss of Deception by Mary E. Pearson. Off to Amazon I went (because, unfortunately there aren’t any independent book stores near me). Labeled as a Young Adult fantasy with an intriguing blurb and an awesome looking cover, I was immediately intrigued. I took a chance, ordered the book.

Read it. Couldn’t put it down. Loved it so much I ordered the rest of the series before I’d finished the first book. I read the remainder of the series and adored it. Now, I would say Mary E. Pearson is one of my favorite authors.

Dance of Thieves is the first novel in a Duology. Vow of Thieves will be released August 2019.

I’m currently reading the first book in her new duology set in the same world of Remnant called Dance of Thieves. Halfway through and I’m in love with it . It’s one of those books that I know I’m reading it too quickly; I want to slow down to savor it but I can’t because I NEED TO KNOW NOW!

As a writer, here are five reasons I love Pearson’s writing and what I’m learning:

1. The perfection of economy. Pearson knows when to elaborate and when to keep it simple. She doesn't belabor points that aren’t purposeful to the whole of the narrative. Her world building is stellar. She takes us into the world and guides us through rather than dropping us in where we get lost in the details. She unfolds it bit by bit as though we live there, seeing it through the eyes of the characters who live it day in and day out. It isn’t overpowering, but it blooms like a flower - beautiful.

2. The chemistry she develops between her protagonists is heart thumping (and wistful sighing by me - the reader). She takes me on that emotional journey drawing out the romantic tension.

3. Her stories are action packed and page turning. The conflict and related tension is tight which makes me think just one more chapter. Then I’m still reading after three.

4. Her female characters are strong and defined - they are gorgeously human, independent and adept. Her male characters are strong and defined - they are gorgeously human, independent and adept. Both of them developed into complex people with triumphs but also with complex flaws.

5. The dialogue! I’m picky about dialogue and one of the biggest reasons I’ll close a book. When dialogue reads like I’m standing amidst two people having a conversation - magic. Pearson does this well. I love the way she uses dialogue to embody the conflict and additional characterization of her rich characters.

I could go on about regarding Pearson’s work, but I think maybe picking up her work and reading it for yourself is a better option.  Are there author’s you adore because of how they write?

I read the Remnant Chronicles last year. So good. Here for Mary E. Pearson’s Amazon Author Page.

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Snappy Dialogue in 3 Minutes

Instead of Swimming Sideways, I choose some dialogue from The Ugly Truth:

In this scene, a contrite Seth tries to apologize to an angry and bitter Gabe:

“What is this?” Gabe asks.  He looks around me as though looking for something specific.  “I kind of thought maybe it was a trap. Thought you might bring a mob here to take me out.”

I stop several feet from him.  “Yeah. That sounds my style.”   

“Especially with a girl involved.” His words feel like acid burning holes through my confidence. I have no witty rejoinder, no quick comeback to deflect his anger.  His mention of what caused the Freak Challenge and now Abby sets me on edge.

I hold my hands up. “Just me.”

“That must have been a pretty nasty reconstruction of your face,” he says.

“Soccer,” I lie.

“Still hitting you then?” Gabe says. He stuff his hands into his pockets.  “And you’re still lying about it.”

“Look. I told you that in confidence,” I say.

“Yeah. Like I told you my history in confidence.”

I look down at my feet and then away from him. He’s right. I used his history against him to start the Freak Challenge. I ignore the jab. “So why did you go to Mr. Robinson?”

“Wasn’t my idea,” he says confirming my suspicion. “For some reason, you had the concern of a rather nice girl who was sincerely worried about you. I don’t know what the hell for.” His tone is bored. He pushes some loose asphalt near his foot with the toe of his shoe. I notice differences from the last time we’d spoken. He’s taller, more muscular.  His hair is darker and longer. It’s curly now that it’s grown out. He stares at me with those icy eyes that are always so disconcerting.

He said had the concern not have. This is a knife in my chest.

“She shouldn’t have done that,” I say.

“She seemed to think that the beatings were getting worse.”

I look out at the fence that runs the perimeter of the school. I don’t feel like talking to him. “Doesn’t matter.”

“Doesn’t it?”

“Don’t,” I say and clench my jaw. Anger is a sprite igniting fires inside me. I don’t want his concern even if it isn’t direct. I don’t deserve it.

“Don’t what? Ask? Give me a break. I think I’m being pretty polite given the circumstances.”

“Yeah. Yeah. Whatever. No love lost. I get it.”

He pushes away from the car. I’ve pushed his button. “Do you, Seth?”

I’m not prepared to fight him, wouldn’t be able to with all of the injuries I’ve sustained. I change the subject.“I just came to ask you not to go sharing my information with anyone,” I finally say. “I don’t need my dad catching wind of it. I got a little over a year left and then I’m out. I need out.”  

He mocks me with a laugh and a smirk.

I take a deep breath. “I know it doesn’t mean much, but I’m sorry. Sorry for what I did.”

Click here to see on Amazon

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Pacing the Narrative: A New Tool

Look up “pacing your novel” on the internet, and you’ll hit a list of links page after page. It’s a topic about which writers are curious and hopeful of answers. The conundrum is, however, there isn’t a quick and true “fix” to pace. A range of techniques from developing conflict and tension to literary devices like dialogue, imagery, and syntax (personal usage of language) are presented as means to achieve the elixir for pace. There’s a plethora of information out there.

Every writer has a toolbox built over the years of developing craft. Again, Stephen King talks about this extensively.

So, instead of write about pacing from the same lens of what’s already been offered, I thought I’d draw from my writer’s toolbox and cover a technique I learned and have used directly related to pacing.

First and foremost, as Stephen King has impressed upon us in his On Writing: a Memoir of the Craft, read, read and read some more. There is no better way to become a better writer (other than to write). Studying authors you like, different genres, “listening” to the beats of writing with a writer’s ear is the first and best way to develop your own style which includes pacing. This is not an easy fix, just a necessary truth.

That said, here’s a tool from my own TOOLBOX: Compression and Expansion

Several years ago, I attended a workshop called Write Your Life by Mark W. Travis (Hollywood Director; see his books about directing, writing, and writing structure). The purpose of the workshop was to explore autobiographical storytelling, and while it was geared toward oral storytelling it supported the art of writing the story. Two terms Mr. Travis taught were the ideas of Compression and Expansion both of which I have found useful in the art of pacing.

Compression does exactly what it sounds like: compress or press together in the case of story time.  Consider in a movie the idea of a montage (i.e., a training montage in an action film, or the makeover trope in a romance film) and the way the visuals are pieced together to showcase the passage of time. Compression does this in a written form, highlighting key moments to compress the passage of time into something small and powerful.

Expansion is the opposite. It takes a key moment and expands it, highlighting its importance for the character, conflict, and theme. Visually, in a film, this might be a slow motion moment or a flashback. Expansion as a technique of writing follows a similar pattern as compression, highlighting key words and ideas to expand the idea into something meaningful.

The ideas in practice using work I’ve written would look like the following excerpts from my novels Swimming Sideways and The Ugly Truth. First determine a scene which you feel would benefit from either technique and determine if you want to highlight the passage of time - compress it - or the importance of a moment - expand it.

Compression (from The Ugly Truth):

In the following scene, Seth, the protagonist, has become aware of himself and the fact his consciousness is outside of his physical body. The compression used in this scene was meant to compress an unknown amount of time for him because time has stopped making logical sense:

 The wail of the siren.  

Words: “Stay with us, Seth.”

The wail of a woman (I think she is my mother).

Bright lights.

Beeps and blips of equipment speaking.

Drip.

“Swelling.”

“Induced coma.”

Doctors.

Whir.

Now.

I don’t think it has been very long. If I use the emotion of the woman I think is my mother’s gusts of grief as a measure, this seems recent.

Expansion (from Swimming Sideways):

The following scene is the moment the audience learns what happens to Abby in her past as she attends a party with her friend, Seth. Though the moment explores a party she attended in her past and the subsequent trauma of it, instead of glossing over the idea in a few sentences or a paragraph to tell what happened, I expanded it to heighten the drama of the whole scene.

 I close my eyes and slip backwards in time:

Have another drink.

Feeling loose.

Kanoa is staring at me.

Giddy with his attention.

Another drink. He brings it to me.

Laughter.

Kanoa is all-encompassing. I’ve seen him at school. He’s older.

He asks me to dance.

Pressed up against me, the dance is slow. I feel his body. The ache of want.

A kiss and my heart dances too.

Here, have another drink.

Drown the pain and grief of losing Poppa.

I return to the dance with Seth and shudder. He leans back, lifts my face to look at him. He’s smiling, until he realizes I’m crying. “What’s wrong?” he says.

I shake my head, unable to speak and bury my head against his chest as I return to the past:

Another dance. Another drink. I feel loose.

I feel dizzy. Where are my friends?

Here’s another drink. Kanoa. He’s there.

Have another. Drink up.

Where are my friends?

Inhibition dissipates like steam from a boiling pot.

Fast song.

Kanoa dancing with me.

“Dance for me,” he says.

People encircle us.

The crowd chants my name but they slip away as I move; a show for Kanoa.

Kanoa pulls at my shirt. I help him take it off.

His hands all over my now bare skin.

His undivided attention. His smile.

I dance. He helps me, his hands guiding my hips.

The crowd cheers.

I didn't know there were cameras.

A show for everyone.

It was too late.

Where are my friends?

In a viral moment, I became the resident slut of my high school.

Writing is about making choices to propel our goal as writers of telling the best story we can. My goals for using these techniques were to:

1. pace the content,

2. highlight the importance of the moment in the narrative,

3. add to and build tension, and

4. finally to continue developing characters.

Is it directly related to pacing? Maybe. Maybe not. You decide.

Practice Point:  Choose a moment in your current WIP to expand or compress. Reread the section with the addition. What does it do for pacing and flow?

NEXT UP: Dialogue

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Character and Conflict Part2: Motivation

Having read - a lot - a definite way for me to want to throw a book at the wall is when the narrative either loses sight of the conflict or an author struggles to develop one. As a reader, a lack of or an unclear conflict can feel like sitting in a staff meeting without a purpose. Whether you’re a writer who wants to write a more cohesive story, or a reader who’s developing their critique technique, one thing to look for in respect to believable and developed conflict is the main character’s motivation.

Characters - if developed as a round, dynamic, fleshed out character - are motivated to act. Their movements don’t just spontaneously combust into forward movement for the sake of moving plot. If they do, there is a problem with author insertion and adding to a reader’s awareness of a plot feeling contrived. If you aren’t sure why a character makes a choice in the action or dialogue, or feel confused by it, chances are the character’s motivation isn’t clearly defined or the author is intruding.

With respect to characterization and conflict: do you ask your protagonist, antagonist these questions?

Motivation for a character, just like in our own lives outside of the pages, can be intrinsic or extrinsic. Intrinsic motivation is the internal means of propelling a character based on internal desires. Harry Potter, for example, in The Sorcerer and the Stone (J.K. Rowling) was motivated to understand who he was outside the Dursleys. He wanted to know more about his past which propelled him on a journey toward personal enlightenment. Intrinsic motivation. Frodo Baggins, in The Lord of the Rings: The Fellowship of the Ring (JRR Tolkien), however, was motivated to get the one ring out of the Shire in order to keep his home safe from an external danger. Extrinsic motivation. While the stories begin with a specific sort of motivation - internal or external - this doesn’t mean the motivation won’t change. We see both Harry and Frodo undergo changes along the journey to change what motivates their choices, just as that occurs in our own lives.

I took a wonderful class many years ago that helped me as a creative writer. The class was called The 90-Day Novel by Alan Watt. Character motivation was one idea which really stuck with me. A simple tool Mr. Watt presented which I have used over and over in my own writing is the following sentence:

If (Main Character) can (fill in the blank) then s/he can (fill in the blank).

Here’s an example from Star Wars: A New Hope:

If Luke Skywalker can get off Tatooine then he can be happy.

This is Luke’s reality in the opening of the movie. A clear motivation which propels his curiosity. The longer we follow his journey, however, his initial motivation shifts as the he moves forward in the hero’s journey. When his family is murdered, his motivation shifts. This is a mirror to reality; our motivation is constantly shifting based on attained goals, redefined wants, and personal desires.

So to mirror Luke’s shift in motivation:

If Luke Skywalker can help the rebellion he can avenge his family’s death.

It is important to follow the motivation to the root, however. As the above example shows there are still questions: Why does Luke want to avenge his family?

If Luke can avenge his family then he can clear his conscious for leaving them.

A round and dynamic character’s motivation will always modify and shift as the journey shapes her; that is what makes her more relatable to readers. These changes in motivation whether intrinsic or extrinsic are often rooted in the journey (which if you aren’t familiar with Chris Vogler’s work on the Joseph Campbell monomyth be sure to look it up). As the story moves forward, the motivation serves as a guide for interaction with other characters, propels the main character’s choices, and determines forward action which is believable rather than contrived.

Think about your favorite novel or your current work in progress. Can you create an If/can, then/can statement?

Up Next: Pacing your story . . .

Character and Conflict, part one: Types of Conflict

As a reader, a teacher of literature, and a writer, next to character, conflict is the most critical element of literature. Conflict, the problem which the main character must overcome, is what drives the story from beginning to end. The conflict is that which makes the audience cheer or jeer. It is what keep us opening the book and reading into the wee hours of the morning. Conflict is what builds tension and explores the very essence of our own psyche. Haven’t you ever thought: what would I do in that situation?

A good book has a clear, relatable and exciting conflict. It’s what keeps us reading.

Without conflict, the plot line flattens out. In a previous blog, I explored the difference between a character-driven story and a plot-driven one, and would say that regardless of how the story is driven, conflict is still present and necessary. A plot line in either case is still essential to move narrative from beginning to end, and is only able to occur because conflict is present.

The types of conflict we find in stories are categorized as follows:

• Character (protagonist) versus Character (antagonist)

Character versus Character is the tried and true conflict of one person against another (or a few others). Think:  Harry versus Voldemort, Luke versus Darth Vader, Katniss Everdeen against President Snow.

The typical conflict: one character versus another.

• Character versus Society

Character versus society is the exploration of a character’s conflict with the ideals or constructs of the society in which their journey takes place.  For example, while Katniss Everdeen is pitted against the power struggle with President Snow (The Hunger Games by Suzanne Collins), the conflict also delves into what President Snow and District One represent (opulence and classism, abuse of power, etc). Or in Harry Potter’s journey in the The Order of The Phoenix, the character versus character is maintained with his conflict with Voldemort, but there is added complexity in the struggle against the Ministry of Magic which include fascism, racism, and abuse of power. A favorite example, The Great Gatsby by F. Scott Fitzgerald and Nick’s descent in the high society of 1920’s New York. These society constructs force the character to take a stand or change perspective which stretch the tension and develop the conflict.

• Character versus Nature

Character versus nature is the survival story. This is the main character facing the destruction of a natural disaster,  hunger in a famine, or being lost in the woods and finding a way to survive the long winter. Think: Gary Paulsen’s Hatchet or The Mountain Between Us by Charles Martin.

Elements of nature provide conflict.

• Character versus Self

Character versus self is the tried and true struggle to overcome personal attitudes and perceptions. In Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian, for example, Junior must face his perceptions about himself as a Native American to determine his worth.

Though this isn’t strictly character versus self, I would argue that many novels don’t adhere to only one conflict which is a mirror to the reality of our own human experience. We struggle with ourselves, but simultaneously we struggle with our boss, or our spouse, or our parents, or our children, and at the same time with what we hear is happening on the news. Conflict in our lives doesn’t happen in isolation and often doesn’t for our characters either. In To Kill a Mockingbird by Harper Lee, Scout struggles with societal perceptions about race and gender (character versus society) while at the same time learning about her own understanding of those things (character versus self). In a recent story I read called I am Still Alive by Kate Alice Marshall, the main character faces her inner conflict coping with a new disability after an accident while trying to survive alone in the wild, AND eventually facing off with her father’s murderers. Three conflicts layered into the hero’s journey of this character (believe it or not, it worked!)

The internal struggle is the epitome of character versus self.

If you examine your current Work In Progress or the novel you’re currently reading, can you identify the conflict? I’m reading Cassandra Clare’s Queen of Air and Darkness and I’m not sure I can at 200 pages of 800 . . . there’s a lot going on (and I might want to throw the book at the wall) but more on that later..

Next up: I’ll explore the idea of character motivation and the tried and true magic statement I learned that has helped me stay on point.

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Point of View and Writing

In the act of writing, I don’t think I have ever made a conscious decision when beginning to write a new story about point of view.  What I mean by that is, I don’t think I sat down and planned in conscious manner I would be writing in first person or third person, omniscient. I wonder if any writer does? I’d love to hear from them.

In my process, as I mentioned in a previous blog post, new ideas, new characters, often come in snippets, so when I sit down to explore the snippet further, I just write and by write, I mean word-vomit whatever is going on in my mind. I don’t think about the point of view, I just go for it. To review: Point of view is the way a story is written. There are three points of view: first, second and third, but to complicate things third can broken up into two types: third person, limited and third person, omniscient.

First person is when the character writes in a way that places the reader in an intimate place within his thought process, as if reading the character’s journal. The first person perspective uses pronouns like I, me, we, us. Swimming Sideways and The Ugly Truth are written in first person point of view.

Second person is when the reader becomes the character. Remember the Choose Your Own Adventure books? Those were written in 2nd person and replied on the pronoun you to include the reader as the protagonist of the tale. This isn’t a frequently utilized point of view, however a great example is Freewill by Chris Lynch (A YA Mystery and a Printz Honor Award Winner published in 2001).

Finally, third person is the removal of the audience from the story by placing them outside of the action but providing them with a bird’s eye view. This is done by using pronouns like he, she, them, they. Not a part of the action but witness to it, the audience is afforded the opportunity to understand a character without being connected to them. First person, limited, is when the point of view (narration) never leaves the experience of a single character. We see this happen a lot in YA literature when an author identifies which character she is writing to explore various character’s experiences. Several examples of this third person, limited are Leigh Bardugo’s Crooked Kingdom or Veronica Roth’s Divergent, and an all-time favorite work of fiction - J.K. Rowling’s Harry Potter series.  Third person, omniscient, then, is when the narration of the story is god-like, and the impact of events and thoughts of characters can be explored at will. Examples include Jane Austen’s Pride and Prejudice or Virginia Woolf’s Mrs. Dalloway.

Want more examples of different POV? Click here.

Writers, then, often grapple with which point of view do I choose? If you google it, the answer is often: whichever one suits your story best. Hah! Thanks for nothing.

If you remember the story of the creation of Swimming Sideways, it was initially a very different story. A paranormal teen romance with angels and demons, the first time I wrote it, it was in third person, limited. I switched back and forth between Abby’s perspective, Seth’s and Gabe’s. The style of the story which worked to keep the reader outside - looking in - and distant made third person a logical choice. When we think about stories that incorporate extensive world-building, this is often the case.  Swimming Sideways was revised to a very character-driven story which lost the paranormal elements altogether. When this happened, I made the decision to change the third person, limited view to a first person in order to make it more personal between the character and the reader. Successful? The jury is out.

For me, making the decision as to which sort of point of view to write a story is linked to character and goals. Is the story character-driven or plot-driven? What level of emotion am I building into the conflict (more on conflict in a later post)? The analysis of my goals will often answer the question for me. While, I haven’t found a tried and true methodology to identify which POV to write my stories, I would say that by reading (a lot), I have been given maps to understand POV and successful implementation of each.

Do you have a specific methodology for choosing POV? Comment and discuss below!

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Character-Driven or Plot Driven Narrative?

Stories make me happy. This isn’t an overstatement. From sitting around the dinner table with family and listening to personal tales, or picking up a book and reading a gripping tale, I’m transported into the narrative, soaking up details and experience. Over the course of the last year, I read fifty books. These books ranged from memoirs like Trevor Noah’s Born a Crime, Maya Angelou’s essays in Letters to My Daughter and novels of varying genres from adult romance, thriller and suspense to young adult fantasy, dystopia, and contemporary. Stories make me happy.

Reading at the beach is even better!

As a writer - early on - as I was pushing open different kinds of writing doors to figure out what kind of writer I was, I didn’t think much about character. This isn’t because I had a belief that character wasn’t important. No. I knew characters were essential to the whole of a narrative. It was just that in my beginning level of constructing story, I focused on the plot to move characters through a story. The plot: a series of actions and reactions that carry characters from the beginning to the end of the story.

Plot Line Depiction: Fair Use

We’ve all studied it: Introduction, rising action, turning point, falling action, conclusion. First this happened, and then this and then this. I think many of us tell stories this way. As we recount a moment in our day, or for example, as my son recounted a dream he’d had to me. We describe the narrative as a series of events moved and dictated by the movement of our experience as characters in the story. This recounting is an example of the plot-driven narrative. A story moved by action from beginning to end.

Then, some of our stories investigate experience further. The narrative shifts into the thoughts and feelings associated with certain outcomes, and then we explore how those reflections inspired further action. When a story is driven by the internal experience of a character who responds to events taking them from one moment to the next reflecting on growth. This development of character motivation and internal exploration in response to action is a character-driven story.

As I’ve developed as a writer (mostly by studying story after story after story, and then developing my own relationship to the craft of writing) I have moved toward a character-driven story. Looking at Swimming Sideways, The Ugly Truth and the soon-to-be published The Bones of Who We Are, I would describe them as character-driven novels in which the plot is centered on character growth rather than siphoned into a series of events.

This isn’t to say that one is better than the other. Both are embodied in well written stories. Both plot-driven and character-driven are enjoyable if written well. Though I would add the caveat that even plot-driven stories must have believable and developed characters. This is done, I think, by working to make characters round and dynamic versus flat and static. The difference? A round character is developed and complex rather than one-dimensional like a cardboard cut-out, and a dynamic character showcases a change in perspective whether this is through action, interaction, or internal development in contrast to a character who remains constant all the way through a story.

Fair Usage

Consider your favorite stories. Would you say they were plot-driven or character driven? Feel free to comment and discuss.

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