News: M. B. Weston’s New Book Releases & Appearances

First, I have to apologize for not blogging for a while. In the past few months, I have dealt with a family death, economic hits to the family income, a change in jobs, a move across town, and working with a new publisher that acquired the rights to The Elysian Chronicles: A Prophecy Forgotten. If you follow me on Facebook or Twitter, you may have noticed that I have rarely updated my status for quite a while. Thankfully, life seems to have settled down, evidenced by my top-secret chocolate stash lasting longer… I’m still dealing with having no wi-fi, so bear with me…

I am going to give a more detailed blog for each of these items, but I wanted to make sure to announce them now.

THE ELYSIAN CHRONICLES: A PROPHECY FORGOTTEN
APF As mentioned above, a larger publisher has acquired the rights to A Prophecy Forgotten! I’m so excited about this because in the past week, APF has moved more books than it has in its life, and it’s not even fully released yet!

With this 3rd edition, I was able to change up the first chapter, which I hated, a lot. (I’ll try to post a bit of it on this site soon.) Now it stars with more of a bang. We’ve also cleaned up some of those grammar errors a few of you have pointed out. The 3rd Edition is available in both Hardcover, Trade Paperback, Kindle, and it will be available in Nook in 85 days.

The 3rd edition of A Prophecy Forgotten isn’t up and running fully on all the sites, yet, but here are a few places you can get it immediately:

Please note that the Hardcover is currently on sale at Barnes & Noble.com for $17.95, which is just a little more expensive than the normal price of the trade paperback!

DREAMS OF STEAM 3: GADGETS
DOS3 I have just entered the world of Steampunk! I have a short story published in Dark Oak’s well-known steampunk anthology. It’s my darkest story yet. I will blog more on this when I have more time, and I will post some samples, but for now, if you need a steampunk fix, be sure to scarf this up:

Also, I will be at a few conventions this month:

MB WESTON CONVENTION APPEARANCES:

  • Coast Con, Biloxi, MS
  • MidSouthCon, Memphis, TN

Please drop by my booth and say hi!

Posted in Appearances & Signings, Books & Works by M. B. Weston, News & Events, Short Stories & Other Writings, The Elysian Chronicles | Tagged , , , , , | Leave a comment

The New Prologue After Previous Edits

If you have been following my blog this week, I have been showing a few examples of my editing process using the prologue to a paranormal thriller I’m working on (currently called Unleashed).

On Monday, I posted the working prologue in the post, “The Writing Process: Find & Eliminate Stupid Words“. Throughout the week, I posted showed a few of things I do when I edit and gave examples of how I used them to change my prologue:

This prologue is not complete yet. I will still need to give it a few re-reads to eliminate awkward sentences, make sure it flows, and possibly add in an item or two more in order to make it connect more to the story, which actually takes place in modern-day Ascension Parish, Louisiana. However, it’s much better than it was when I started, and in a pinch, I can give it to an advance reader without much worrying.

Unleashed [working title]: Prologue

Sogne d’Auvers, Provence of Gévaudan, France, June 19th, 1767

A hogtied wolf, deformed and tinier than most, swung back and forth as it dangled from the gallows in the village square. Blood trickled from its abdomen, which the villagers had ripped open, down to its snout and onto the ground below. It dripped on a collarbone that once belonged to a small child—a collarbone the villagers recovered from the wolf’s stomach.

Cries from the villagers rang out across the town and into the hills. “La Bête! La Bête! La Bête!”

La Bête du Gévaudan, the beast that had terrorized the French province, mauling and killing over one hundred people since 1764, hung limp and lifeless. This beast was not a loup garou, as many first suspected when the attacks first occurred, nor was it the wrath of God pouring out on Gévaudan as the Bishop of Mende once declared. La Bête was real. She was a wolf. And the wolf was dead.

Only one man refused to share the crowd’s joy. Gustave Géroux leaned against the tavern wall with his hands thrust in his coat pockets. The coat looked a few sizes too big and hung limply off his shoulders. His knickers, once faced with clothing more of him, now buckled under his belt. His gaunt, sunken-in face made his cheekbones protrude more than normal. A large pit formed in Gustave’s stomach as he listened to the villagers rejoice. Each cheer nauseated him.

A twenty-two-year-old nobleman who wore a silk, navy waistcoat with gold trim stood near the wolf’s carcass and addressed the crowd. Marquis Jean-Joseph d’Apcher had spent every Sunday for the past three years organizing battues, hunting parties, to search for the beast. Gustave, and many others, suspected the young lord used the beast as an excuse to avoid attending mass, but they still admired and loved their lord. Their respect for him would only grow, now that his fierce determination to find the beast finally produced results. The members of his hunting party stood behind him.

“I am not your hero,” said the Marquis d’Apcher. He pointed to the roughened, burly man with a large face and prominent cheekbones standing next to him. This man wore no dainty wig, as the Marquis did. Instead, he kept his coarse hair tied back with a ribbon. The wind and the action from the hunt had pulled some of his hair out of the ponytail, but he had not bothered to retie it. A rust-colored bull mastiff sat obediently at the man’s side.

“Here is your hero. La Bête’s killer, Jean Chastel!”

As the marquis stepped aside to allow Chastel take the stage, his gaze fell on Gustave. Gustave looked away and shifted his weight from one leg to the other. The marquis’ gaze had often fallen on Gustave for the past four months.

Chastel, oblivious to the marquis and Gustave’s exchange, stepped forward, and the crowd roared. He raised his hands to quiet the crowd and began to tell the story of how he shot la Bête.

Gustave barely listened. The rumors about Chastel had already begun to spread. Some said his son, Antoine, teetered on the insane and owned a unique menagerie of animals including such exotic species as hyenas. Some accused Chastel of poaching, insisting he spent time in prison for it. Others dismissed the accusations, claiming he spent time in jail for a prank he pulled on some of the king’s soldiers. Whatever the rumors, Gustave didn’t trust the large country bumpkin. Not that it mattered. None of this actually mattered.

Chastel held up a book of litanies to the Holy Virgin. “I was reading this,” he said, “when I saw her!”

The crowd hushed. They had already heard the story, but Gustave knew they wanted—no, they needed to hear it again. The retelling made it feel real. If this beast was La Bête, their terror would end. Their woman and children, the beast’s main targets, could finally walk through the woods and mountainsides in safety. The king’s soldiers would leave Gévaudan, allowing them to return to their farms and work the fields instead of seeking out the beast. This year’s harvest would be plentiful, and the people would not starve. Yes, the villagers needed to hear Chastel’s story once more.

Chastel held up his rifle. “I loaded it with silver bullets, in case it was a loup garou,” he said.

The crowd clung to his words. A wolf—not a werewolf—hung before them, but Chastel enjoyed reveling in his own forethought. “I knelt on the ground and prayed. When I finished, I looked up, and I saw her: la Bête!”

Chastel shook his fist in the air. His dramatic intonations had become more fantastic with each retelling of the story, noted Gustave. Next time, he might even jump in the air and land on the ground, imitating a werewolf.

The mob gasped on cue. They had memorized their role by Chastel’s fourth retelling earlier.

“I knew it was a sign from God,” continued Chastel. “I took my rifle; I aimed; I fired.” Chastel acted out the sentence, pretending to hold a rifle made of air. He paused for a breath. “And la Bête fell!” He raised his fist to the air again, and the crowd roared.

Except that’s not la Bête. The thought made Gustave’s stomach churn. The crowd should have known as well, he mused. The eye-witnesses had described a much bigger monster with a flatter snout and a more ridged back. This wolf was probably a scavenger that had eaten the true Bête’s last victim.

Gustave turned away and trudged home, feeling sick to his stomach from listening to their short-lived joy. What would happen to the villager’s joy when la Bête killed again?

Gustave stopped as he approached his home and saw something that made the hairs on the back of his neck stand up. Under his door, someone had tucked a folded piece of paper. He reached for the note. His hands shook as he unfolded it. He stepped closer to the door to examine the contents without anyone noticing. The violent trembles made it almost impossible for him to read it.

He glanced at the message, but he paid little attention to the words. He already knew what it said. He intended to burn it later, as he had done with the others. He started to hide the note in his pocket when he heard the click of a musket near his left ear.

“What time does it say to meet?” The voice belonged to the Marquis d’Apcher.

“Ten o’clock. Tonight.” Gustave stared at the ground. He had avoided eye contact with the marquis for months. Why start now?

“Where?”

Gustave said nothing. He had stopped reading before he reached that part.

The marquis snatched the note out of his hands and read it. “La Ténazeyre forest? Interesting. The same forest where the wolf was shot. Appropriate, don’t you think?”

“Yes, my lord,” said Gustave.

The marquis motioned to the villagers. “They’ll be celebrating long after that, Monsieur Géroux. And I would hate for you to miss your appointment this time.” He shoved the nose of the musket closer to Gustave’s face. “Move.”

*****

A few hours later, the Marquis leaned against the tree with his hunting rifle pointed at Gustave. “There’s still time,” he said. “I can get you a priest to perform last rights.”

Gustave stared at the ground, still refusing to look the marquis in the eye. “No priests.” He might have deserved absolution for his sins before the attacks, but not now.

Every passing moment brought them closer to ten o’clock. Fear—mortal fear—now replaced the guilt that had seeped into Gustave’s bones and eaten through his soul. He had seen what happened to la Bête’s victims. Sweat dripped from his forehead, down his chin, and onto the forest floor. “My lord, please have mercy.”

“Mercy?” The marquis’ face remained emotionless. Noblemen knew how to maintain control. “This is mercy. You allowed others to die so you could cling to life, only to be reduced to this.” He prodded Gustav in the ribs with his riffle. “Hiding from la Bête has reduced you to a skinny mass of bones. It’s not good for your health,” he added, his voice dripping with sarcasm. “This ends tonight. And we will let the people think they have their Bête.”

“Kill me now. Please.”

“Taking your life is not my decision to make. It is la Bête’s.”

“You won’t escape it either,” said Gustave, trying another ploy to escape.

The marquis threw the note Gustave had found earlier at his feet. “I’m not the one it’s after.”

The temperature started to drop, and the clear, yet humid air turned into mist.Nearby, bushes and underbrush rumbled and creaked. Something much larger than a wolf approached.

Gustave’s heart beat increased. He felt numb. He considered running, but the marquis kept the rifle aimed at his heart.

The rustling in the bushes grew nearer, and Gustave could see the dim outline of the creature that had haunted his every movement for three years. He fell to his knees, terrified. Behind him, Gustave heard the marquis let out a cry of horror and his rifle hit the ground with a thud. This bête was no beast.

The darkened form stepped into the clearing. It pounced, and the forest of Ténazeyre echoed with Gustave’s tormented screams.

On the ground lay the original note stained in blood. Along with the Ten O’clock and La Ténazeyre Forest, it contained the words:

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Your day of reckoning has come.

Posted in The World of Writing, The Writing Process | Tagged , , , , , , , , , , , , , , | 3 Comments

Writing & Editing: Find & Correct Common Grammar Mistakes

No matter how often we try to avoid it, we all make a few subtle grammatical errors when we write. Some of them occur when we type the wrong word. Others are born from listening to incorrect grammar on TV and radio. While taking the time to use Word’s Find/Replace function to seek every grammar mistake makes no sense, I do recommend searching for a few of the most common ones–and ones least likely to be found by your editor and advance readers.

As I mentioned in Monday’s post, “The Writing Process: Find & Eliminate Stupid Words“, I’m working on editing a paranormal thriller novel, and I figured I would share some of the things I’m looking for in this week’s blog posts. YMonday, I posted my working prologue before any of these edits. At the end of the week, I will post the prologue after the edits.

Today’s editing directive: seek out and eliminate common grammatical mistakes.

Here is a list of mistakes that I look for because I know I’m a repeat offender:

  • So: Should never be used as a substitute for “very”
  • Like: Marlboro started the whole “like verses as” problem with their ad “Marlboro tastes good like a cigaret should.” Remember: use like with objects (He looks like a dog!) and as with concepts (Marlboro tastes good as a cigaret should.)
  • Plus: Don’t you mean “also.” Use “plus” when you are adding numbers.
  • Irregardless: This is not a word. Therefore, you shouldn’t use it.
  • Due to/because: Remember, “It was canceled because of rain,” but “The cancellation was due to rain.”
  • Different Than: It should be different from.
  • Which/That: “Which” is parenthetical, meaning you can take what comes after it completely out of the sentence and the sentence would still work, as in “Grab the paint, which I think is a beautiful color.”  “That” is used with the phrase after it is imperative to the sentence. “Grab the paint that we just opened,” has a totally different meaning than, “Grab the paint, which we just opened.” Especially if you have more than one can of paint in the room.
  • Lay vs Lie: Lay (present tense) is transitive, meaning action. The conjugation looks like this: Lay/Lays (present tense), Laid/have laid (past tense), laying. “The hen lays an egg” (present tense), and “Yesterday, the hen laid an egg.” Lie (present tense) is intransitive, meaning no action, which includes being in the state of lying down. (If you are in the process of lying down, then you are actually laying, as in “Now I lay me down to sleep.” The conjugation of “lie” is where things get confusing: Lie/Lies (present tense), Lay/have Lain (past tense, not to be confused with the present tense form of lay), Lying. Yes that means 1) you can lay down while 2) someone is already lying down and 3) your wife is laying the baby down. If this happened in the past, you would have laid down while your friend lay in the bed and your wife laid the baby down.) Catch all that?
  • Fewer/Less: You have fewer numbers. You have less amounts.
  • Nor: No double negatives here. Incorrect Usage: “He cannot eat nor sleep.” Instead try one of these three: “He cannot eat, nor can he sleep.” “He cannot eat or sleep.” “He can neither eat nor sleep.”
  • Two, to, too: Do a word search and make sure you haven’t confused them.
  • There, Their, They’re: Same here.
  • Your, you’re: And same here.
  • Though, Thought, Through: Believe it or not, you will confuse these, too.

After doing a search on a few of these in my prologue, I discovered this:

  • “Others dismissed the accusations, saying his jail time was due to a prank…” I actually found it during a “was” search earlier. Technically, his jail time is a noun, so the sentence might have worked. However, the cause of the jail time was not just the prank. It would have included a trial, etc. I changed the sentence to: “Others dismissed the accusations, claiming he spent time in jail for a prank…”

I will post the new prologue with all the changes tomorrow.

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The World of Writing, The Writing Process | Tagged , , , , , , , , , , | 1 Comment

Writing & Editing: Find & Eliminate Cheesy Cliches

Eliminating cheesy cliches is easier said than done. We writers are busy as bees trying to write our stories, and words cannot express how easy it is to close up shop at the end of the day and ignore the overused cliches that bring our readers to the depths of despair and cause them untold agony. Is your prose full of so many cliches that words cannot express it’s cheesiness? Better late than never! Use the find/replace function in Microsoft Word to search and destroy cliches, and soon you will find that they are few and far betweenLast but not least, don’t let cliches dampen your spirits. If you follow these steps, you can find each and every one and repair your shattered dreams and make other writers green with envy.

That being said, do I need to explain why you should avoid cliches in your writing?

As I mentioned in Monday’s post, “The Writing Process: Find & Eliminate Stupid Words“, I’m working on editing a paranormal thriller novel, and I figured I would share some of the things I’m looking for in this week’s blog posts. Yesterday, I posted my working prologue before any of these edits. At the end of the week, I will post the prologue after the edits.

Today’s editing directive: seek out and eliminate cliches.

Here is a list of cliches I have gathered from several sources:

  • Acid Test
  • As luck would have it
  • Better late than never
  • Bitter end
  • Busy as a bee
  • Depths of despair
  • Easier said than done
  • Festive occasion
  • Few and far between
  • Finer things in life
  • Green with envy
  • Last but not least
  • Mother Nature
  • Needless to say
  • Rich and varied experience
  • Ripe old age
  • Sadder but wiser
  • Slow but sure
  • Untold agony
  • Words cannot express
  • Each and every one
  • Shattered dreams
  • Seemed like eternity
  • World turned upside down
  • At the end of the day
  • To make a long story short
  • I can’t wrap my hands around it
  • All his might
  • Dampened his spirits
  • That being said
  • Copious notes

Leave a comment and let me know what others I missed. I’m sure there are several more out there!

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The World of Writing, The Writing Process | Tagged , , , , , , , , , , , , | Leave a comment

Writing & Editing: Find & Eliminate Undescriptive, Empty Words

Word are a writer’s currency, and we must use them judiciously. Words that serve no real purpose except to fill space because they sound good are a waste of our word count and our readers’ time. Remember that the reader has a movie of your story playing in his head. Choose words that add to that movie.

As I mentioned in Monday’s post, “The Writing Process: Find & Eliminate Stupid Words“, I’m working on editing a paranormal thriller novel, and I figured I would share some of the things I’m looking for in this week’s blog posts. Monday, I posted my working prologue before any of these edits. At the end of the week, I will post the prologue after the edits.

Today’s editing directive: seek out and eliminate words that take up space without painting a picture.

Here is my list of words that I seek out and try to eliminate if possible:

  • Not (I use this often with “was” as in “He was not doing anything.” (Notice the “do.”) My theory: If a character is not doing something, then he is doing something else. Unless I need to draw a comparison in the reader’s mind, I find that I can better paint a picture by focusing on what my character is doing. For instance, “He flicked a crabapple at the road, wishing for a bit of adventure,” tells the reader more than, “he was not doing anything.”)
  • n’t (Same as not. This takes a while to find, however, because my characters speak in contractions.)
  • There (I only allow a “there” if it refers to something’s location, such as “over there.” Otherwise, bye bye!)
  • Rather (My characters tend to be “rather annoyed” or “rather happy.” Taking out the rather sounds better and conserves words. Don’t be tempted to try to sound pompous and replace it with “quite”. I do it all the time and then have to do a “quite” search.
  • By (Passive voice indicator. Like “there,” this should be used only in reference to location.)
  • Very DO NOT USE EXCEPT IN DIALOGUE! Yes, I’m yelling.
  • That (“That” can be a legitimate pronoun, as in “Do you want this or that?” You can also use it as a part of a modifying phrase, as in “Grab the paint that we used yesterday.” However, we often tend to use “that” as a filler. If it doesn’t serve a grammatical purpose, eliminate it!”
  • as (“As” has a great many gramatical purposes, but if you want to write “He tried to make it as easy as possible,” you probably could just say, “He tried to make it easy.”
  • Then Then is one of the great fillers of the universe. We all use it about two-thirds more than we should.
  • Certainly If your character “knows he certainly should open the door for the lady,” he also knows “he should open the door for the lady.”
  • Nice (An undescriptive adjective. Don’t say “She looked nice.” Make it juicy. And don’t say “She was nice.” Show her kindness.
  • Just “He was just rearing to go” can be changed…
  • Really DO NOT USE EXCEPT IN DIALOGUE!
  • Finally Overused filler.
  • Suddenly Overused filler.
  • With that “With that, Michelle realized she used ‘with that’ as a filler.”
  • As Far As “As far as this phrase is concerned, it’s not needed” can be shortened to “This phrase is not needed” or better yet, “Don’t use this undescriptive phrase.”
  • Some Sort My character always use some sort of something…
  • One of the most Overused filler.
  • Found himself “Davian found himself in the heart of a battle” can be made better. Show the battle and the surprise. Don’t tell.
  • Just as “Just as I thought I was done…”
  • As soon as Overused filler.
  • Went Back Replace with “returned.”
  • Inside of Usually can use “inside”
  • Out of Usually can use “out”
  • Off of Usually can use “off”
  • A lot DO NOT USE EXCEPT IN DIALOGUE!

Here are some of the changes I made to the prologue after searching for these words:

  • “The wind and the action from the hunt had pulled some of his hair out of the ponytail, but he had not bothered to retie it.” I replaced “not bothered” with “forgotten.”
  • Passive Voice Alert! “Gustave heard the marquis let out a cry of horror followed by the thud of his rifle falling to the ground.” Changed to “Gustave heard the marquis let out a cry of horror and his rifle hit the ground with a thud.”
  • “Some accused Chastel of poaching, insisting that he spent time in prison for it.” Changed to “Some accused Chastel of poaching, insisting he spent time in prison for it.”
  • “Not that it mattered. Not that any of this actually mattered.” I like the drama building here, but I figured I should get rid of one, which would change up the rhythm and grab the reader’s attention. Changed to “Not that it mattered. None of this actually mattered.”
  • “Gustave turned away and walked home, feeling sick to his stomach. What would happen to the villager’s joy when la Bête killed again?” This “would is appropriate, but I realized that I could make the sentence better–especially with the word “walked.” Changed to “Gustave turned away and trudged home, feeling sick to his stomach from listening to their short-lived joy. La Bête would kill again.”
  • “He would burn it later” changed to “He intended to burn it later”.

Stay tuned for tomorrow when we chat about cheesy cliches!

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The World of Writing, The Writing Process | Tagged , , , , , , , , , , | 1 Comment

Writing & Editing: Find & Eliminate Words You Overuse

All writers have our pet set of words that we use over and over again. It’s fine to write them in your first draft, but make sure you seek them out and eliminate them before you turn in your final copy.

As I mentioned in yesterday’s post, “The Writing Process: Find & Eliminate Stupid Words“, I’m working on editing a paranormal thriller novel, and I figured I would share some of the things I’m looking for in this week’s blog posts. Yesterday, I posted my working prologue before any of these edits. At the end of the week, I will post the prologue after the edits.

Today’s editing directive: seek out and eliminate words that we overuse.

In a short story, we might be able to get away with using our favorite words at least once or twice, but not so in a novel. I still remember when my friend and highly important advance reader, Jill Bond, made a ticker sheet of the words I used too much in my second novel, Out of the Shadows. We discovered that my main character, Davian, crossed his arms at least once every 3 pages, and he glared every 4. In fact, most of my characters glared at least once every 10. It was a frustrating, yet imperative lesson for me, and because of it, I created a list of words that I use far too much. Before I turn anything in, I use Word’s Find/Replace function to seek them out and murder them. Here is my personal list:

Dialogue Tags: Most editors will say that we ought to use “said” and not worry about how often we use it. Using other dialogue tags muddies up your prose. The reader will skip over “said’s” without really registering it, so they aren’t a problem. However, sometimes the character is yelling or whispering, or muttering–something that is different from the tone of the rest of the conversation. Those times call for a separate word. Many of my stories feature men in battle. This means lots of yelling, sarcasm, muttering, and grunting. Because of that, I overuse these words:

  • Yell
  • Mumble
  • Mutter

Character Gestures & Verbs: I also have a few character motions and pet verbs that have no redeeming value that I overuse.

  • Manage (In a first draft, my characters usually “manage to clime the tree” or “manage to find the hidden portal.” In fact, they do so much managing you would think they were CEO’s.
  • Crossed his arms: They do this all the time. They really need to be more creative… 😉

Facial Expressions: I’m a big believer in body language. Unfortunately, my characters faces often to most of the talking instead of their bodies. This is a problem because it makes it easy for me to be lazy and tell instead of show. Here are my character’s favorite facial expressions.

  • Smile
  • Frown
  • Sigh
  • Glare
  • Eye (as in, “He eyed the intruder and watched him carefully.”)

I have a typed, one page mini-thesaurus that I created to help me deal with these annoying, overused words. For instance, I have listed for alternate words for “yell”: Shout, Cry out, Howl, Scream, Shriek, Screech, Squeal, Roar, Bawl, Whoop, Holler, Bellow. Because it’s only one page, I can find synonyms quickly instead of typing the word into an app or thumbing through my handy-dandy Webster’s thesaurus. It makes the editing process quicker, which is important when you are editing an 80,000 word novel.

Note: Don’t just pick a synonym out of a thesaurus because you are exhausted and tired of dealing with words. Pay attention to a word’s connotation and the character who will be performing said word. Davian doesn’t shriek, squeal, or bawl. He’s a man’a man. He will shout, roar, holler, or bellow. And if I use up all those words in a scene, then I’m overdoing it.

In the prologue I’m working on, I made these changes as a result of searching for the above words:

  • “’No priests,’ muttered Gustave. He might have deserved absolution for his sins before the attacks, but not now.” This is a classic example of how using “muttered” can tell instead of show. I wanted the reader to understand Gustave’s guilt. I hear him muttering in my head, but that’s not the important part of this sentence. It’s the guilt he feels that causes him to mutter. If I can increase the reader’s understanding of the guilt by showing it, the reader will hear the mutter on his own. Changed to: “Gustave stared at the ground, still refusing to look the marquis in the eye. ‘No priests.’ He might have deserved absolution for his sins before the attacks, but not now.” Note that I don’t need a dialogue tag because the reader knows Gustave is talking. (Writing tip: Combining character action with dialogue eliminates the need for “said,” and it keeps your scene moving.)
  • Yesterday, I changed this sentence because of the “had been.” I also attacked the “eyeing” verb that I know I overuse: “The marquis had been eyeing him strangely for the past four months.” Changed to “The marquis’ gaze had often fallen on Gustave for the past four months.” I’m not 100% happy with it, but it’s a good start.

I realize that this doesn’t look like a lot of changes. I have been using this list for so long, that my mind automatically forces me to change “smile” and “frown” to something that shows instead of tells when I write my initial draft. Here are some sentences that I already changed before I reached this stage:

  • “Only one man refused to share the crowd’s joy. Gustave Géroux leaned against the tavern wall with his hands thrust in his coat pockets.” Much better than frowning, eh?
  • “The marquis snatched the note out of his hands and read it. ‘La Ténazeyre forest? Interesting. The same forest where the wolf was shot. Appropriate, don’t you think?'” Again, no mentioning of frowning is necessary. The use of “snatch” and the obvious sarcasm with “Appropriate, don’t you think?” let’s the audience visualize the marquis’ face without me spelling it out.

Stay tuned for tomorrow’s post on overused words and phrases that all authors fall victim to!


Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The World of Writing, The Writing Process | Tagged , , , , , , , , , , , , , , | 8 Comments

Writing & Editing: Find and Eliminate Useless Verbs

Nothing can let the air out of a great sentence like a boring, flat verb. Unfortunately, we writers tend to love boring verbs–especially the “being” verbs, and our sentences suffer for it. The best way to fix a flat sentence? Find the boring verbs and eliminate them!

This week, I’m covering a few editing techniques that I use when I write, and all of them concentrate on eliminating overused words. Today, we are discussing verbs. I’ve written before about eliminating boring verbs, and I’ve listed a few of my pet peeves (check out “The Writing Process: Editing for Grammar & Style”). Today, I want to give you my full list of verbs that I personally seek out using Microsoft Word’s Find/Replace function and change. I’ve been using this list for years, and I’ve discovered that the sentences in my stories that sound the most awkward often contain one or more of these words. Coincidence? I think not!

These verbs are on the list because they don’t offer any kind of description or word pictures. These are like the pirate code–more like guidelines, so don’t trouble yourself if you can’t figure out how to change a sentence.

One last thing: Always remember that you shouldn’t worry about changing any of these words if they are part of dialogue. Let your characters talk normally–not like English professors. (My apologies to any English Professors…)

Stupid, Boring Verbs
(Yes, this is the title of my list.)

  • Be*: Is/Are/Be/Was/Were/Been/Being
  • Go: Go/Goes/Went/Gone/Going
  • Put: Put/Puts/Putting
  • Do**: Do/Does/Did/Done/Doing
  • Come: Come/Comes/Came/Coming
  • Have***: Have/Has/Had/Having
  • Can: Can/Could/Been able/
  • Begin+: Begin/Begins/Began/Begun/Beginning
  • Seem+: Seem/Seems/Seemed/Seeming
  • Get+: Get/Got/Gotten/Getting
  • Become+: Become/Became/Becoming

* Note that being verbs are sometimes necessary. For instance, if your character is jumping, you need the “is”.
**I only eliminate “do’s” when they become the main verb of the sentence rather than a compliment to the main verb.
***Have’s are necessary if you are using them in the plu-perfect tense. They are often overused, however, and I don’t like using them as a form of possession.
+These verbs are fine on occasion. I just happen to use them too much.

Earlier today, I posted the working prologue to the novel I’m currently editing. (Click here to read it.) As promised, I’m including a things I’ve changed in my prologue after searching out these verbs. (Noticed that most of the changes center around the word “was.”)

  • “There is still time” changed to “There’s still time” to correct stiff dialogue.
  • When I did a search on is, I found this and realized this quote needed a tuneup:  “This is mercy. Hiding from la Bête has reduced you to a skinny mass of bones. It’s not good for your health…,” I changed it to “This is mercy. You allowed others to die so you could cling to life, only to be reduced to this.” He prodded Gustav in the ribs with his riffle. “Hiding from la Bête…” I’m still not sure about my addition, but putting something in there will help me later during final edits.
  • Sometimes in narrative, you just have to leave in the “was’s.” I try not to do this often, but my “was” search gave me this: “This beast was not a loup garou that many had suspected when the attacks first occurred, nor was it the wrath of God pouring out on Gévaudan as Bishop of Mende had declared. La Bête was real. She was a wolf. And the wolf was dead.” When the being verb is describing something that can’t really be shown or comparing/contrasting something, I will often let it go. I might change these sentences later, but for now, I’m leaving them.
  • Passive voice alert! “His knickers buckled under his belt, indicating there was once more of him to clothe.” Changed to, “His knickers, once faced with clothing more of him, now buckled under his belt.” I’m holding onto the idea of “clothing more of him,” but I won’t be surprised if my editor tells me it’s too awkard.
  • “His gaunt face was sunken in, making his cheekbones protrude more than normal. His eyes, which should have been alight with celebration, were downtrodden.” I changed it to this: “His gaunt, sunken-in face made his cheekbones protrude more than normal.” I eliminated the second sentence. Given the rest of the paragraph, it was redundant. A savvy reader will already picture downtrodden eyes and will wonder why Gustave is reacting differently than the rest of the crowd.
  • “The crowd hung on his words. The wolf hanging before them was no werewolf,…” Two issues with this: 1) the was, and 2) hung & hanging in the same paragraph. Changed to: “The crowd clung to his words. A wolf—not a werewolf—hung before them,…”
  • Passive Voice Alert! “Others dismissed the accusations, saying his jail time was due to a prank…” Was is an issue here, as well as “due to” (covered later) which is an annoying way to say because and is also one of my passive voice alert words. Changed to “Others dismissed the accusations, claiming he spent time in jail for a prank…” Note that “spent” is now the main verb instead of “was.”
  • “They knew their role by now, as it was Chastel’s fourth retelling.” Changed to: “They had memorized their role by Chastel’s fourth retelling earlier.” Someone will probably tell me this is awkward, but it’s a start.
  • “The only thing Gustave felt stronger than guilt was fear.” Oh, the problems with this one. Aside from the “was,” it’s a blah kind of sentence, it feels cliched, and it lacks punch. See what you can catch with a “was” search! Changed to: “Fear—mortal fear—now replaced the guilt that had seeped into Gustave’s bones and eaten through his soul.” Yeah, it’s way dramatic, but I just ate some chocolate, so there…
  • “He considered running, but the Marquis was an expert huntsman.” Aside from “was” the sentence never follows through on the idea that the marquis would shoot him… changed to “He considered running, but the marquis kept the rifle aimed at his heart.”
  • Passive Voice Alert! “Blood trickled from its abdomen, which had been ripped open,…” changed to “Blood trickled from its abdomen, which the villagers had ripped open…”
  • I had been feeling uncomfortable with this: “The rustling in the bushes grew nearer. Gustave fell to his knees in terror the moment the darkened form stepped into the clearing. He heard the marquis’s rifle drop to the ground behind him. This was no bête—no beast. It pounced, and the forest of Ténazeyre echoed with Gustave’s tormented screams.” The “was” alerted me to the paragraph. Ironically, I ended up keeping the “was”  because I saw no other way around it, but I changed the rest to this: “The rustling in the bushes grew nearer, and Gustave could see the dim outline of the creature that had haunted his every movement for three years. He fell to his knees, terrified. Behind him, Gustave heard the marquis let out a cry of horror followed by the thud of his rifle falling to the ground. This bête was no beast.The darkened form stepped into the clearing. It pounced, and the forest of Ténazeyre echoed with Gustave’s tormented screams.”
  • More passive voice, and also a “put”: “Some of his hair had been pulled out of the ponytail, and he had not bothered to put it back.” Changed to “The wind and action from the hunt had pulled some of his hair pulled out of the ponytail, and he had not bothered to retie it.”
  • “The marquis had been eyeing him strangely for the past four months.” I’ve felt like this was an awkward sentence for a while. I find it interesting that at the heart of every awkward sentence lies a being verb. Changed to “The marquis’ gaze had often fallen on Gustave for the past four months.” It’s not perfect, but it’s better.
  • “He had been unable to look the marquis in the eye for months.” Changed to “He had avoided eye contact with the marquis for months.”
  • “He started to put the note in his pocket…” Changed to “He started to hide the note in his pocket…” Originally, I planned to use “shove,” but “hide” gives the reader a better idea of what he is actually doing…
  • “…suspected the young lord might have enjoyed the excuse…” Awkward sentence. Changed to “suspected the young lord used the beast as an excuse…”
  • “a collarbone that had once belonged…” Redundant. Changed to “a collarbone that  once belonged.”
  • “many had suspected…” Changed to “many first suspected…” First communicates more.
  • “as the Bishop of Mende had declared” Changed to “as the Bishop of Mende once declared.”
  • “He stepped closer to the door so he could examine the contents…” Changed to: “He stepped closer to the door to examine the contents…”
  • “Once he read the message, he folded the note as best he could with the shaking hands.” Oh, dear. “As best he could.” Really Michelle? That is such an annoying cliche, and I always seem to find a way to use it at least once in every single thing I write. Changed to: “He glanced at the message, but he paid little attention to the words. He already knew what it said.” I already covered the trembling hands in the paragraph before, so I took the sentence out.
  • “…and Gustave could see the dim outline…” Changed to “…and Gustave saw the dim outline…”
  • “He might have deserved absolution for his sins before the attacks began,…” Changed to “He might have deserved absolution for his sins before the attacks,…”
  • “He began to sweat.” Often, I find that “begin” is just an excuse not to actually describe and/or show something. Changed to, “Sweat dripped from his forehead, down his chin, and onto the forest floor.”
  • “Nearby, bushes and underbrush began to rumble and creak.” Changed to “Nearby, bushes and underbrush rumbled and creaked.”

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The World of Writing, The Writing Process | Tagged , , , , , , , , , , , , , , | 3 Comments

Writing & Editing: Find & Eliminate Stupid Words

First, I must apologize for not blogging for a while. I got bogged down both with traveling to two conventions in two weeks and with the Thanksgiving holiday. I’ve also put myself on an intense deadline to get my latest novel into the hands of my advance readers by Christmas Eve, and I’ve been letting everything that is not part of that novel slide.

Since I’m knee-deep, well neck-deep actually, in editing, I have decided to take a little break from my Making Make-Believe Believable posts and write a couple of posts on editing.

I had mentioned earlier in a post entitled “The Writing Process: Part 7 – Editing for Grammar & Style” (click here to read) that we should try to use strong verbs in our sentences. I listed a few of those verbs, and a few other over-used words we writers love to pepper our paragraphs with as well. I figured for the next few days, I would give you my full list of what I call “Stupid Words” and then show you how I use this list (and Microsoft Word’s absolutely amazing find/replace function) to improve my own writing. I plan to cover:

  • Overused, boring verbs (today’s next post)
  • Verbs we writers use too much
  • Other overused, boring words & phrases
  • Cheesy Cliches
  • Grammar mistakes we make too often

To do this, I figure I might as well share a bit of what I’m working on. Here is the prologue to my next novel–BEFORE I have begun seek out and eliminate the overused words we will be discussing this week. It’s a paranormal thriller (NOT in the Elysian Chronicles series) about a woman who discovers that the person stalking her is 1) responsible for 90% of the world’s serial killings and 2) isn’t human. This prologue is currently a work in progress, meaning it will change a bit between now and publication. I also am still in the “massaging” stage of my second draft, which means that some of the parts are over-dramatic and need to be toned down while others need to be turned up. Oh, yeah, and there is an 80% chance that the dialogue sucks because my dialogue always sucks during the first and second drafts. With that disclaimer, here it is. Throughout the rest of the week, I’ll show you how I change it, starting with today’s next post on overused, boring verbs.

Oh, yeah. And pardon my French. 😉

No, seriously. I haven’t had the French parts edited yet… Where are your minds???

Unleashed [Working Title]: Prologue

Sogne d’Auvers, Provence of Gévaudan, France, June 19th, 1767

A hogtied wolf, deformed and tinier than most, swung back and forth as it dangled from the gallows in the village square. Blood trickled from its abdomen, which had been ripped open, down to its snout and onto the ground below. It dripped on a collarbone that had once belonged to a small child—a collarbone the villagers had recovered from the wolf’s stomach.

Cries from the villagers rang out across the town and into the hills. “La Bête! La Bête! La Bête!”

La Bête du Gévaudan, the beast that had terrorized the French province, mauling and killing over one hundred people since 1764, hung limp and lifeless. This beast was not a loup garou that many had suspected when the attacks first occurred, nor was it the wrath of God pouring out on Gévaudan as Bishop of Mende had declared. La Bête was real. She was a wolf. And the wolf was dead.

Only one man refused to share the crowd’s joy. Gustave Géroux  leaned against the tavern wall with his hands thrust in his coat pockets. The coat looked a few sizes too big and hung limply off his shoulders. His knickers buckled under his belt, indicating there was once more of him to clothe. His gaunt face was sunken in, making his cheekbones protrude more than normal. His eyes, which should have been alight with celebration, were downtrodden. A large pit formed in Gustave’s stomach as he listened to the villagers rejoice. Each cheer nauseated him.

A twenty-two-year-old nobleman who wore a silk, navy waistcoat with gold trim stood near the wolf’s carcass and addressed the crowd. Marquis Jean-Joseph d’Apcher had spent every Sunday for the past three years organizing battues, hunting parties, to search for the beast. Gustave, and many others, suspected the young lord might have enjoyed the excuse not to attend church, but they still admired and loved their lord. They would love him more now that his fierce determination to find the beast finally produced results. The members of his hunting party stood behind him.

“I am not your hero,” said the Marquis d’Apcher. He pointed to the roughened, burly man with a large face and prominent cheekbones standing next to him. This man wore no dainty wig, as the Marquis did. Instead, he kept his coarse hair tied back with a ribbon. Some of his hair had been pulled out of the ponytail, and he had not bothered to put it back. A rust-colored bull mastiff sat obediently at the man’s side.

“Here is your hero. La Bête’s killer, Jean Chastel!”

As the marquis stepped aside to allow Chastel take the stage, his gaze fell on Gustave. Gustave looked away and shifted his weight from one leg to the other. The marquis had been eyeing him strangely for the past four months.

Chastel, oblivious to the marquis and Gustave’s exchange, stepped forward, and the crowd roared. He raised his hands to quiet the crowd and began to tell the story of how he shot la Bête.

Gustave barely listened. The rumors about Chastel had already begun to spread. Some said his son, Antoine, teetered on the insane and owned a unique menagerie of animals including such exotic species as hyenas. Some accused Chastel of poaching, insisting that he had spent time in prison for it. Others dismissed the accusations, saying his jail time was due to a prank he pulled on some of the king’s soldiers. Whatever the rumors, Gustave didn’t trust the large country bumpkin. Not that it mattered. Not that any of this actually mattered.

Chastel held up a book of litanies to the Holy Virgin. “I was reading this,” he said, “when I saw her!”

The crowd hushed. They had already heard the story, but Gustave knew they wanted—no, they needed to hear it again. The retelling made it feel real. If this beast was La Bête, their terror would end. Their woman and children, the beast’s main targets, could finally walk through the woods and mountainsides in safety. The king’s soldiers would leave Gévaudan, allowing them to return to their farms and work the fields instead of seeking out the beast. This year’s harvest would be plentiful, and the people would not starve. Yes, the villagers needed to hear Chastel’s story once more.

Chastel held up his rifle. “I loaded it with silver bullets, in case it was a loup garou,” he said.

The crowd hung on his words. The wolf hanging before them was no werewolf, but Chastel enjoyed reveling in his own forethought. “I knelt on the ground and prayed. When I finished, I looked up, and I saw her: la Bête!”

Chastel shook his fist in the air. His dramatic intonations had become more fantastic with each retelling of the story, noted Gustave. Next time, he might even jump in the air and land on the ground like a werewolf.

The mob gasped on cue. They knew their role by now, as it was Chastel’s fourth retelling.

“I knew it was a sign from God,” continued Chastel. “I took my rifle; I aimed; I fired.” Chastel acted out the sentence, pretending to hold a rifle made of air. He paused for a breath. “And la Bête fell!” He raised his fist to the air again, and the crowd roared.

Except that’s not la Bête. The thought made Gustave’s stomach churn. The crowd should have known as well, he mused. The eye-witnesses had described a much bigger monster with a flatter snout and a more ridged back. This wolf was probably a scavenger that had eaten the true Bête’s last victim.

Gustave turned away and walked home, feeling sick to his stomach. What would happen to the villager’s joy when la Bête killed again?

Gustave stopped as he approached his home and saw something that made the hairs on the back of his neck stand up. Under his door, someone had tucked a folded piece of paper. He reached for the note. His hands shook as he unfolded it. He stepped closer to the door so he could examine the contents without anyone noticing. The violent trembles made it almost impossible for him to read it.

Once he read the message, he folded the note as best he could with the shaking hands.  He would burn it later, as he had done with the others. He started to put the note in his pocket when he heard the click of a musket near his left ear.

“What time does it say to meet?” The voice belonged to the Marquis d’Apcher.

“Ten o’clock. Tonight.” Gustave stared at the ground. He had been unable to look the marquis in the eye for months. Why start now?

“Where?”

Gustave said nothing. He had stopped reading before he reached that part.

The marquis snatched the note out of his hands and read it. “La Ténazeyre forest? Interesting. The same forest where the wolf was shot. Appropriate, don’t you think?”

“Yes, my lord,” said Gustave.

The marquis motioned to the villagers. “They’ll be celebrating long after that, Monsieur Géroux. And I would hate for you to miss your appointment this time.” He shoved the nose of the musket closer to Gustave’s face. “Move.”

*****

A few hours later, the Marquis leaned against the tree with his hunting rifle pointed at Gustave. “There is still time,” he said. “I can get you a priest to perform last rights.”

“No priests,” muttered Gustave. He might have deserved absolution for his sins before the attacks began, but not now.

Every passing moment brought them closer to ten o’clock. The only thing Gustave felt stronger than guilt was fear. He had seen what happened to la Bête’s victims. He began to sweat. “My lord, please have mercy.”

“Mercy?” The marquis’ face remained emotionless. Noblemen knew how to maintain control. “This is mercy. Hiding from la Bête has reduced you to a skinny mass of bones. It’s not good for your health,” he added, his voice dripping with sarcasm. “This ends tonight. And we will let the people think they have their Bête.”

“You won’t escape it either,” said Gustave, trying another ploy to escape.

The marquis threw the note Gustave had found earlier at his feet. “I’m not the one it’s after.”

Nearby, bushes and underbrush began to rumble and creak. Something much larger than a wolf approached.

Gustave’s heart beat increased. He felt numb. He considered running, but the Marquis was an expert huntsman.

The rustling in the bushes grew nearer. Gustave fell to his knees in terror the moment the darkened form stepped into the clearing. He heard the marquis’s rifle drop to the ground behind him. This was no bête—no beast.

It pounced, and the forest of Ténazeyre echoed with Gustave’s tormented screams.

On the ground lay the original note stained in blood. Along with the Ten O’clock and La Ténazeyre Forest, it contained the words:

Your day of reckoning has come.

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Editing Your Work, The Writing Process | Tagged , , , , , , , , , , , , , | 8 Comments

Writing: Your Characters Must Earn (or Have Earned) Their Skills

If you want your reader to believe in your make-believe world and suspend disbelief, make sure to show that your characters have earned their skills, knowledge, and powers.

Michael Jordan is quite possibly the world’s greatest, most skilled basketball player. If you watched him in his prime, you might have thought that the only possible reason for his greatness was pure, natural talent. The reality, however, is different. Jordan was cut from his high school basketball team his sophomore year. That event caused him to work harder on his game and helped shape his future career. Jordan may have (and probably did) possess gobs of talent, but he also put in hours of practice and effort to become the player he is today. Michael Jordan earned his skills and the right to be great. While we might not see those hours of practice when he is playing in a game, we know those hours exist “off screen”.

Our characters often have skills in certain areas—especially in speculative fiction. In last week’s post about “Writing: Keeping Character Confrontation Results Realistic,” I discussed giving characters skills that would help them win confrontations with other characters, creatures, and/or technology. Giving characters skills and talents is important, especially when it comes to 1) making them three-dimensional and 2) adding a little flavor and uncertainty to the story. Just remember that whatever talent or skill you choose you give your character must be earned (or have been earned).

If Michael Jordan has to practice basketball even though he has natural talent, your character has to practice his skill—especially if this skill is something that comes into play later.

Here are a few things to consider:

  • Magic (and other skills—especially physical skills) must be practiced. Yes, your wizard could be the “chosen one,” but remember that even Harry Potter had to practice his patronus charm. In The Matrix, Neo had to learn how to get used to working within the system.
  • Knowledge must be studied: Your character probably wasn’t born with world knowledge floating around in her brain. She might have a high IQ, but she still needs to study. Hermione Granger read Hogwarts: A History well before she attended it. NOTE: This also applies to knowledge about science fiction technology.
  • Wisdom often comes from making mistakes earlier in life: My dad will often say he learned most of his knowledge about woodworking from “the school of hard knocks.” He usually follows that with a story about how he screwed something up. Your skilled characters probably have a lot of stories. Wisdom can also come from watching others make mistakes and choosing not to go down the same path.
  • Wisdom also comes from experience: A legendary general will have seen many ways to fight a war. He knows what works and what doesn’t based on what he has seen.

One thing to remember: No Info Dumping! You don’t need to show each hour of practice. In fact, your readers really don’t want to read about it. Don’t dump the information. Instead, hint at it throughout your story. Here are a few ways:

  • The age/experience of your character: A general, by nature, has experience. Your reader won’t question it. The same with an elderly wizard. No one questions that Gandalf has practiced his magic. We know that Obi Wan Kenobi has experience as well because of his age.
  • The scuttlebutt about the character: You can show your character’s skills easily through the other character’s reaction to him or her. Back to Gandalf. In The Hobbit, Bilbo Baggins’ reaction to meeting the wizard and all the things he remembers about Gandalf let us know that Gandalf is powerful. Other characters referring to your character’s greatness in dialogue or thought will hint at a skill that has been earned.
  • Mention hours of practice in narrative: It’s cheating, but you can sneak it in if you’re good.
  • Mention the practice in dialogue: In The Elysian Chronicles: A Prophecy Forgotten, my character, Gabriella, wins an impromptu archery tournament. Her friend, Zane, asks, “How often do you practice, Gabs?” “Every night for about two hours,” is her reply. NOTE: I also show her practicing a few times as well.
  • Stage an important scene while your character is practicing said skill: In The Elysian Chronicles: A Prophecy Forgotten, my character Eric takes time to practice throwing sunstars while two other characters are talking. I added it in on purpose to show how Eric’s skills were earned. In The Elysian Chronicles: Out of the Shadows, my hero, Davian is imprisoned in a dungeon for 10 years. I needed him to function at full speed when he finally escaped the dungeon, so I made sure to show him practicing and exercising before he went to bed and implied through dialogue that he had done this since his capture. The practicing itself wasn’t the important part of the scene, but it showed that he would earn the right to fight at a high level when he escaped.
  • Have two characters discuss previous practice or use of skills: One of my favorite lines in The Avengers occurs when Natasha Romanoff says, “This is just like Budapest all over again. Clint Barton responds, “You and I remember Budapest very differently.” I don’t need to know anything about what happened in Budapest. Just showing that these two have fought together before implies that they have earned their skills.
  • A character performing a skill without thinking shows lots of practice. In my steampunk short story, “The Survivor,” my character Angelica…well, let’s just say she possesses a “very particular set of skills acquired over a very long career that make her a nightmare” for people who get in her way. I give the reader a glimpse of these skills when Angelica needs to unlock a door to help a man trapped on a crashing airship: “Angelica flicked her right hand back. A three-inch-long, needle-thin dagger shot out of her sleeves under her wrist. She inserted it into the lock, and with a few jiggles, opened the door. She jerked her wrist down, and the blade retracted into the spring-loaded sheath hidden under her sleeves.” Angelica does this without thinking about it or worrying about whether she will survive. This behavior is rote because she has done it so many times.

What to take from this: Your characters must earn their skills. They don’t get to be different just because they live in a story.

Mainstream Writers: Your characters may not have magic powers, but they probably have skills, and those skills have been earned with hours of practice and study. Make sure to show it or refer to it.

Speculative Writers: Because your characters might have skills that don’t exist in real life, make sure to show a bit of what it takes or took for them to acquire said skills. This will help your make-believe elements feel even more real.

If you are new to this blog, For the past few weeks, I’ve been writing a series of posts about writing speculative fiction, including fantasy, science fiction, steampunk, comic books, paranormal, and horror. (For the full list, click here or on the category called “Making Make-Believe Believable.”) This week, we are taking a closer look at the third and most important rule for making readers suspend their disbelief and buy into our story’s make-believe elements: Rule #3—Govern Your Make Believe Elements. We have already discussed these techniques:

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Character Development, The World of Writing, Writing Believable Make-Believe | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 5 Comments

My Sunday NecronomiCon Panel/Signing Schedule–St. Petersburg, FL

Today at NecronomiCon, I’m panel free. I will be signing the remainder of my stash of books until 2:00pm, so make sure to hurry over.

Be sure to check out my Sample Sunday chapter: Out of the Shadows–Chapter 13! Never let demons know you can feel them…

***PLEASE NOTE***: If you missed my update on Friday, A Prophecy Forgotten has been acquired by Kerlak Publishing. It is out of print for the next few weeks until the new edition is released. Whatever I have with me today are the last copies of this current edition that will be available in Florida–ever. Well, except used on Amazon. Supplies are very, very limited! (I will have enough copies to cover demand at MCFC (Memphis Comic & Fantasy Convention) two weeks from now… I hope…)

Fantasy novelist M. B. Weston is the author of The Elysian Chronicles, a fantasy series about guardian angel warfare and treason. Weston speaks to children, teens, and adults about writing and the process of getting published. For more information on M. B. Weston, visit www.mbweston.com. Find out more about The Elysian Chronicles at www.elysianchronicles.com.

Posted in Appearances & Signings, News & Events | Tagged , , , , , , , , , , | Leave a comment