Flavorful Ramblings
Academically trained as a technical writer, the need to reserve condense writing for technical papers and articles is glaringly obvious to me in many ways. I now write short stories, serials, and full-length novels in the romance and erotic genre. Allow me to explain:
When writing a short story, the demand for space tempts the author into using impact words for description which draws the reader in. Every author wants to dazzle the reader, leading them visually as well as intellectually through a kick-ass story. Targeting the plot, character development, and flow while writing from a technical aspect can damage that experience.
I've had quite a few works that readers provide feedback stating it's a great piece but rushed or this would make a great novel. Some are much worse but, if you read between the lines, you get the gist of it. I transitioned from academic papers (communication degree) into writing short stories for an online platform where a 1,000-3,000 word count was required. Taking into account that plot, character development, and flow are pertinent at this level, atmosphere with intent to emotionally drive the reader is just as important.
Delivering the reader straight off a cliff is easier than you think, especially when writing in order to fire arousal, fear, or intensely stimulate the reader's imaginations.
If memorable, a DIY manual may tease the senses if a friend is having the same or a similar issue. That dishwasher repair manual taught you to fix something and now you can relay that knowledge if the writer did their job. A damn good story will transport the reader if they encounter similar situations in their real life or hear a similar story. Memorable is my goal but I want a certain tone to those emotions, instead of a cringe. That cringe will drench my name if I'm not careful.
After graduating from the online format, I ghostwrote short stories, and then serials and novels. I still write shorts of 2,500 words but its more difficult leaping from expansion on one plot where freedom to explore is the norm to condensing with impact words to walk the reader visually through the story without spoon feeding them too much spice in my flavorful ramblings.
I've edited some works where the material was so heavy with simplicity and wrought with errors, it brought a shudder and sent me fleeing from my chair for a much-needed break. I've also been known to face-palm and shriek write what you know! at the computer. When tiptoeing your way around BDSM scenes, it becomes glaringly obvious when an author crosses the line into torture.
I'm happy that I don't know who wrote some pieces at this point because there's no way I can slip them an e-mail advising them to change genres--write horror instead! In the same fashion, maybe its time they explore tentacle, monster, or the much-naughtier side of sci-fi genres.
In the other direction, the prose can be well-written but the details too strong to stomach. I'm sure there's a niche out there for high-quality works but the heavy usage of impact makes an erotic piece read more like porn (you know what I mean). Another factor in short stories is character development. Should you make the character so lovable that the reader is aggravated upon finishing the short read?
Someone wanting to live in the character's world for a bit of time (every reader I know) may resent the fact when the ending swiftly appears. If the characters pop, the finale has to be just so to avoid that reaction. Otherwise, the reader will develop resentment when no serial materializes and attach that feeling onto your name. Congratulations, you've just scored a disgruntled reader. While your story was completely memorable, its for all the wrong reasons. Pull back.
My Process:
Pick a name, occupation, location, and time frame. Start with an outline, premise, or just a mental sketch of what direction I'm headed. Characters plus conflict sprinkled with romance, lending heat and activity is the name of the game. Who is my main character? How does she feel? What life changing moment am I to display? Explore what if... and brainstorm.
Start with action, impacting the reader with conflict or an emotional state. Unless directed by the client, avoid dream sequences or bedroom scenes because they're overused and amateurish (personal opinion). Character and atmosphere development means background building. I have to set the scene for two people to meet. Is it their first meeting, chance and/or second encounter, or are they already married?
What helps me at this stage is dragging or layering the plots/characters and molding the plot around the characters. Answers to the previous questions spawn more questions. Answer them as the story marches forward. I've grown accustomed to writing shorts so I lay out the premise without a word count goal. I know not to rush it. This is simply the beginning of a story.
The first section normally hits around 3,000 to 4,000 words. I don't think of the ending yet.
Starting back at the beginning, I mold the characters and stretch the word count further. It doesn't matter how many words I finish with but I still don't worry about endings. I go back to the beginning once again and tighten/expand the plot. Here, I add details that will drive the story in certain directions while continually molding the characters. Of course, I expect this to extend the word count beyond the ten thousand range.
By this time, I've also launched into a bit of developmental editing. Since I'm changing the story, I'm driving the work in a certain direction throughout the first two 'drags'. This allows me to target where I'm heading, explore titles for the book, and possibly set what might be a good cover in my mind. Even though I may be ghostwriting the book, I treat it as if it were one of my own works even though the title which I apply may be changed.
I have nothing to do with the cover but setting that image in my mind helps me mold the book. Most of my contracts call for the book of 60,000 words be broken down into 15,000 word sections. In my mind, these can easily be broken into chapters, blended back together, or released as a serial if my client wishes. I let them deal with that process but always keep their choices in mind.
If the characters are popping just so, the ending (or hook to the first section) may rush out of nowhere but I don't let a fixed finale concrete too much in my mind. While writing, I try to sink into the main character and write what she sees to drive the story to finish. In doing this, the reader will (hopefully) enjoy the same visuals and level of emotion that I feel as I write. If tears are drawn to my own eyes as I write, I expect the reader to feel the same emotions.
There are times where I may 'head hop' even though it's frowned upon. When writing romance and erotica for women, I always use a female as the main character and normally don't step outside the M/F genre. When around her male counterpart, his reaction is described through her eyes most of the time. There are appropriate times when I transition the point of view to the male main character. For instance, the main female may be passed out or sleeping. This is a good time to give the reader a taste of what the male character is thinking.
My style is to keep the story positive so I rarely have a partner step outside a relationship if married. What if the female's husband within the story is a brute and she falls for another? Keeping consideration on a time frame or genre, it may be better to portray certain times through the male's eyes. Any adulterous scenes on her part should reflect how she is feeling--the good, confusion, and the bad emotions. Sometimes, this is difficult to accurately portray through her eyes. Give the reader a taste of what she's feeling through his perception and allow the reader to form their own opinion. Later, back up her character with her point of view towards self as she reflects back so readers will be more sympathetic instead of deeming her an adulterous so-and-so.
You hopefully get the point. Even though I may 'finish' the first section at this time, I'm not done yet so I don't place my trademark ~~The End~~ just yet. By this time, I may groan when going back to the beginning. As a ghostwriter, I don't have to option of setting the work aside and letting it brew. Many of my works are still brewing while one is screaming hey, over here. Remember, Peter? I'm the sexaholic counselor that launched your butt into writing. I need your help.
Slamming the door on Peter, I go back to the beginning of the ghostwritten work and read aloud. Why? Because I know I'll hit every word and hesitations mean awkwardness. If rushed (this should be done every time but I don't have that luxury), I record the work. Normally, I edit as I go. Every time I alter something, I back up and read it over again (aloud).
Approaching the ending once again, I stretch the story. Since working in increments of 15,000 word segments, I normally assign myself four days to a week for this process. I'll know the characters need work if I'm focused. Many morning at this stage, I leap out of bed with dialogue or an image resting in my head as if the character lives and reminds me that we're not done yet.
There's been plenty of times where I've worked on multiple plots, skipped across genres, and overwhelmed myself in such a way that focus was damn near impossible. It's not recommended on longer works! When my mind can't latch onto a character to mold it because there are too many swimming around in my mind, the story falls flat. Forcing this separation of characters in order to maintain uniqueness always has the opposite effect when read. That's also why its not a good idea to overload a work with too many characters.
Anyway, this process leads me to the ending. Once I've written the The End, I go back and reread it aloud to make sure the flow, style, and random errors are taken care of before I deem it finished. Take into account, this is based on deadlines where I have to hand if off and never see the work again. Based on my contract and client relationship, I submit the work and move along. It's rare that I receive feedback on plot or anything from ghostwritten works.
My process is subject to change as I learn. I may not garner much from my client with regards to plot, character, etc. but I'm often complimented on quality of work and efficiency. I rely on personal reviews of my work and beta reader feedback, altering my process as I move forward with writing. And now we've reached the end of this post.
Happy writing everyone!
~~The End~~
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