SHOW Your Readers Your Love—Don’t Just Tell Them

“Don’t tell me the moon is shining; show me the glint of light on broken glass.” —Anton Chekov

 

by MGDboston

by MGDboston

The most caring thing authors can do for their reader is to give them a great story. This means more than a creative, fresh plot. Authors must do the work to bring the reader into the story.

Tweetables

  • Readers expect an author to give them what they need to live the story.
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  1. Although, scared of what she imagined might happen, she ran into the woods.
  2. Avery disliked Mitch trying to make her admit her feelings for Jackson.

Below are the actual excerpts to the above sentences in which I told what happened. See how each author brings us into the moment of the story.

Excerpt 1: The Silent Governess by Julie Klassen:

by badeendjuh

by badeendjuh

Shivers of fear prickling over her skin, she hurled herself into the outstretched arms of the wood, already dim and shadowy on the chill of autumn evening. Beneath her thin soles, dry leaves crackled. Branches grabbed her like gnarled hands. She stumbled over fallen limbs and underbrush, every snapping twig reminding her that a pursuer might be just behind, just out of sight.

Comment: With the extra work Klassen did in showing me the character’s fear of the scary woods, I don’t have to do any more work than run my gaze over the words. I don’t have to come up with what the character’s fear felt like or what the woods looked like. I’m there with the character, trying to avoid the grabbing branches.

Excerpt 2: Dangerous Passage by Lisa Harris:

Image courtesy of Simon Howden / FreeDigitalPhotos.net

Image courtesy of Simon Howden / FreeDigitalPhotos.net

Mitch snapped on his seatbelt. “So how is he?”

She pressed her foot against the brake. “How is who?”

“Jackson Bryant. You can stop pretending. I’ve caught that daydreamy look in your eyes whenever the two of you are in the same room. Or on the phone together.”

Avery frowned. “It’s nothing.”

“Nothing?”

After a quick glance in then rearview mirror, she started for the station. She could always opt for leaving him on the street to find his own way back.

Comment: Harris takes the time to show us how detective Avery North learns partner Mitch’s circumstantial evidence for charging her with budding feelings toward Jackson. Detectives detecting on and off the clock. Clever.

Then Harris shows us how Avery feels about Mitch as she considers kicking him out of the car. We’re right inside her disgruntled thoughts. In Harris’s story, the banter continues.

Tweetable

  • Authors who love their readers show instead of tell what happens in their stories.
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However, sometimes showing is unsuitable. That’s the subject for next week’s post.

Which authors do you think do well at drawing the reader into the story?

Hook Your Reader to Start the Next Chapter NOW!

“That’s what agents and acquisition editors are looking for–something they don’t want to put down.” —Ray Rhamey

 

by phaewilk

by phaewilk

Writers are told to end each chapter with a cliffhanger that keeps the reader from inserting a bookmark and going to sleep.

Tweetable

  • Would a chapter with these endings make you turn the page?
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      • Tomorrow was another day.
        Image courtesy of Sira Anamwong / FreeDigitalPhotos.net

        Image courtesy of Sira Anamwong / FreeDigitalPhotos.net

      • She smiled. “You’ve made me happy today, Mark.”
      • She huddled down in her hiding place and drifted off to sleep.

I imagine you’d be inserting the bookmark. Why?

      • All provide stopping places. Whether the character’s situation is bad or good, each scene ends with quiet closure.
      • Readers are left with no reason to keep reading.

Here are two chapter endings that contain a hook.

Example 1 from Sweet Mercy by Ann Tatlock:

“Well,” I said, “nice to meet you.”

“Yeah, you too. Oh, and welcome to Ohio, I guess. But listen, just watch out for the red-eyed devil.”

“The what?”

“Marlene!”

“I said I’m coming!” She started to go, and then turned back. “But don’t worry. You’re pretty safe as long as it’s daylight. He mostly comes out at night.”

I wanted to ask her what she was talking about, but before I could say another word she had run off, laughing, to join her family.

 

by clarita

by clarita

Comment: Okay, I want to learn who the red-eyed devil is. I’ll read one more chapter.

Notice how Tatlock winds down the chapter at the end of the day with goodbyes between the main character, Eve, and Marlene. A nice stopping place. EXCEPT Marlene, brings up the danger of a red-eye devil appearing at night—which is fast approaching.

Tatlock didn’t stick the hook in as a gimmick. She ties it to the story and reveals who the red-eyed devil is shortly. These two elements are important.

Tweetable

  • Your end-of-chapter hook must not be a gimmick but part of the story.
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Example 2 from On the Threshold by Sherrie Ashcraft and Christina Berry Tarabochia:

Her cell phone rang.

Not now. She didn’t feel like talking to anyone except her husband…and maybe not even him. She checked the caller ID.

Beth. Okay, make that anyone except Jake or Beth.

She pulled to the side of the road. “Hi, honey.” Suzanne forced a pleasant tone.

“Mom?” Beth sniffed, voice breaking. “I need you.”

 

by DTL

by DTL

Comment: After an awful day, Suzanne considers what to do about dinner. A nice stopping place. BUT the phone rings, and her daughter’s in trouble. Okay. I want to know what Beth’s problem is. I’ll read on.

Again, the hook is tied to the story, and within a few pages we know Beth’s problem.

Here’s the last of my ho-hum chapter endings above transformed into a hook:

She huddled down in her hiding place. Minutes went by while she listened to the drone of cicadas in the darkness. Her eyelids grew heavy.

A loud huffing sounded.

Her lids shot open, and every muscle tensed. Only an angered bull made that kind of sound. Or a monster.

Tweetable

How would you change one of the ho-hum endings to make the reader turn the page?

When Should You Spare the Life of an Innocent -ly adverb?

“I am dead to adverbs; they cannot excite me.” — Mark Twain

recite-13336-1058016930-v8er06.png

Look at the –ly adverbs in the next paragraph. Which would you axe?

Jason planted his hands firmly on top of the gate, swung his legs over gracefully, hit the ground lightly, and took off after Lily. He couldn’t lose her this time. Lily really needed to hear what Dad had said about her before he quietly died. Maybe she’d finally stop running. And return to the family.

All the –ly adverbs could go, except possibly one.

file000987768106.jpgFirmly -Jason hasn’t time to make sure his hands are firmly planted on the gate. And adding firmly slows the fast-paced action down. “Gripped” would sum it up in one strong verb.

Gracefully – this says something about Jason’s agility, but it takes the reader away from the urgency Jason is experiencing. And it slows the action.

Lightly – is this possible? It might be better for Jason to scramble a step to regain his balance. More realistic, and shows the urgency. Scramble is a strong verb that describes Jason’s actions. It means using one’s hands and feet while moving over or up terrain.

Really – I don’t think really adds anything, and takes away the punch from “needed.” If really had been used in dialog, it could work. “Lily, you really need to hear what Dad said.” It still weakens “need,” but it shows how Jason might talk in persuading Lily.

Quietly – this, like the others, is telling and forces the reader to imagine what quietly looks like. No last breath? In his sleep? It speed-bumps the flow. And, how Dad passes is not important here.

Finally – It’s probably unnecessary, but finally supports the idea Lily runs every time she sees family members. Finally is much shorter than going on about her constant fleeing.

Tweetables

  • An –ly adverb works when it gives needed information while moving the story along.
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  • An –ly adverb works when a character would use the word in dialog.
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Here’s the paragraph without the –ly adverbs, but tweaking verbs:

Jason gripped the top of the gate, swung his legs over, scrambled a step on the other side, and took off after Lily. He couldn’t lose her this time. Lily needed to hear what Dad had said about her before he died. Maybe she’d stop running. And return to the family.

books-02.jpgEva Marie Everson uses few –ly adverbs in The Road to Testament. Here are examples where she used them effectively:

  1. He placed the book on the table without fully entering the room, then pulled the door shut.

 

Without fully we wouldn’t have the right picture of what he’s doing.

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  1. On the ground, several dead branches lay haphazardly where thick brambles and brush ran about knee-high. “Careful now,”…
by mparkes

by mparkes

Everson chose succinctness over wordy showing. The description of the branches’ positions isn’t worth more than one word. Haphazardly covers alternatives, such as “lay in a haphazard manner” or “lay this way and that way.”

Tweetable

  • An –ly adverb works when no verb can replace verb+adverb, and showing slows the story.
    click to tweet

What good reasons do you have for using –ly adverbs?

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American Christian Fiction Writers

American Christian Fiction Writers

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