Blades of the Fallen: Meet Ailan

Next up is the moody teenager, Ailan Suhn. Sent to try talking him round, Solan and Rialen quickly realise he is more than just a typical teen.

Space Katana

Suhn is dangerously sympathetic to the so-called ‘Fallen’: those men and women who do not adhere to the conventional ways of Necurians. He feels that they are unfairly treated and vilified for simply wanting to do their own thing. He identifies with them. Perhaps even feels as though he would find his place among them.

But when he witnesses a brutal murder committed by one of these misunderstood people, his sympathy disappears. He becomes obsessed with hunting down the killer, now the symbol of those he suddenly hates more than anything: the Fallen. He’s in over his head, but he won’t let anything get in his way; least of all the laws of other, lesser galactic races.

Blades of the Fallen is coming 1 August.

Blades of the Fallen: Meet Rialen

The second character in this short series of introductions is Solan’s closest friend, Rialen Solaax.

Rialen's Katana

Seventeen-year-old Rialen has already developed his psionic abilities beyond the reach of most students and likes to meet Solan’s lectures with practical jokes and displays of aptitude his friend is yet to attain. Twenty-two-year-old Rialen is a powerful inquisitor with anger problems.

The murder of a Vanguard agent in front of his eyes drives the practical jokes and rash, thoughtless actions from Rialen’s repertoire. His only focus becomes joining the ranks of the Vanguard and protecting his people.

But when the ferocious killer again drives a blade through someone he cares for, Rialen’s anger may get in the way of him preventing the same fate befalling a friend he feels responsible for. If he can’t get a handle on it, will he become what he is fighting?

Blades of the Fallen is coming 1 August.

Blades of the Fallen: Meet Solan

As we draw closer to the release of the third book in the NEXUS universe, I thought I could write a brief series of introductions to some of the characters in the book. The cast of characters is not as broad as in previous books, but there are still a handful to meet. These men and women are agents of the Vanguard, the Necurian people’s first and last line of defence.

Solan's Katana

Eighteen-year-old Solan Ashar sometimes remembers to check his arrogance before he lectures his fellow students. Mostly, he forgets that he hasn’t even started his training for the Vanguard yet, let alone graduated. Twenty-three-year-old Solan is full of doubt and worry. He is an inquisitor of the Vanguard, but is the responsibility of this role too heavy? Is the darker side of his new position too much to bear?

The moment teenage boy is suddenly forced into adult is the moment he witnesses the brutal murder of a Vanguard agent. The moment his ideas of a noble, adventurous life of sailing the stars and spreading peace to undiscovered races is shattered by the wrathful and merciless face of reality.

If he is to help bring a murderer to justice and uncover the truth behind a spate of child abductions, Solan will have to come to terms with the contrast between his once rose-tinted view of the Vanguard and its true nature.

Blades of the Fallen is coming 1 August.

Book 3 Cover Taster

Book three of NEXUS is slowly creeping closer, though working seven days a week until midnight is slowing down its progress. The cover is ready, but I don’t want to reveal it until I know when the book will be released.

I will probably also start putting out brief character spotlights as the release gets closer and, obviously, announce that release when I know it. Until then, here is a little square of the cover. Look, it has a foot! A sci-fi foot!

Book 3 Tease

You may have noticed my Facebook and Twitter (oh, and G+…) banners change. That was your first taste!

So until I know more, I’ll try and put out more guides for surviving unlikely situations you’ll definitely find yourself in should you happen to be some kind of Hero.

How to Write a Book: The Middle

So, we’ve covered the preparation stages in part 1, now it’s on to the main event:

NOW, WRITE!

Finally, we’re ready to start the fun part. It only took us 3,000 words to get here. All of that preparation might have been a pain, but there are two bits of good news. First, if you made it through the pain, there’s a good chance you’re definitely writer. Second, you’ll be glad of all the planning and research while you happily write away, fully aware of who your characters are, and their motivations and whatnot.

Fountain Pen

While fun, this part is also tricky, because it’s where people are unsure if they are ‘doing it right’. It’s extremely hard, if not impossible, to tell someone how to write something good. It either happens or it doesn’t. That said, don’t expect to have something publishable come out of your first attempt. Some authors have numerous fully completed manuscripts lying in drawers that will never see the light of day, because they’re not good enough.

The best advice I have heard or can give is to simply write for yourself. Write something that you would want to read. Try never to think ‘ah, that’ll do’. Enjoy the process and the work itself. As for knowing when it’s properly finished, or if it’s publishable, that’s pretty much up to you to decide for yourself – but don’t forget you have friends and family!

– Just Write

This part of the process is all about getting everything out of your head. Don’t edit what you’re writing. Don’t worry too much about your sentence structure, how many adjectives you’re using, and how many iterations of ‘was’ and ‘that’ you’re using. Hopefully, you should be writing fairly well by default, but all this will come in the rewriting and editing stages.

Characters come alive

By Jodi Harvey-Brown

If you’re not sure where to start even after planning, just start with anything you’re sure of: maybe a scene you have in your head, or have the protagonist do something normal and everyday, like going to the corner shop, so we’re introduced and you get into the flow of writing. You’re not chiselling into the side of a mountain, so you can afford to do things out of order and write stuff that will never make it near the finished work.

Your characters will take you in directions you didn’t expect, and reveal things about themselves that you may not have known without a thorough background check. This is part of the fun, and you will do more harm than good if you scold them and force them back onto the path you’ve set out for them.

– Backup

Remember what I said in part 1 about my computer deleting all of the work I’d done? Save to multiple computers, flash drives, external hard drives, Dropbox, even send your work to yourself in an email attachment. And backup very regularly.

– Chapters

You don’t have to decide how you want to do your chapters at this stage. You may find your scenes splitting themselves up into natural chapters as you go, or you may have to go back through later to insert them. You may decide that you don’t want to use traditional chapters. In my NEXUS series, I haven’t so far used chapters in the normal way, with numbers and/or names. I don’t think I’ve ever read a Terry Pratchett book in which he uses any kind of chapters.

It’s up to you and what you think suits your particular book. There isn’t really a right or wrong here. Choosing where to insert your chapters can be surprisingly tricky, and you may find yourself doubting your choices. Equally, not using chapters may have its own issues.

– Take A Break

Take a Break

– ‘Full Cup, Thirsty Spirit’

Know when to stop writing for the night, or for the morning, or whatever it happens to be. A good piece of advice for finishing is to never write until you’re empty. When you are in the mood to write, and it’s all flowing out of you, it’s tempting to just write and write and write, but if you finish while you still have ideas, it will be much easier to pick it up again when you return. But don’t stop after an epiphany, obviously, as you don’t want to come back the next morning and realise that you’ve forgotten where you were taking things!

Now might also be a good time to revisit your notes and plans. Perhaps not to edit them, but to add to them. I prefer to update my notes with new information and ideas, rather than ‘correct’ the old notes. Apart from anything, the planning and note taking – and especially the editing – is a different kind of writing to what you’ve just been doing, and you don’t want it to break your creative flow. So perhaps just jot down important revelations and the like, and then go to bed. Or work. Don’t forget to go to work.

– Don’t Fear The Internet

This could have easily gone in the research section, but it’s as relevant here. The internet isn’t just for Googling your name to see if you’re a famous author yet (hint: you aren’t; you haven’t finished the book). There are a lot of people on the internet: some most are a******s, but plenty will be a lot like you. Websites like Authonomy are good places for writers to learn, meet other writers, and even ask for help.

If you are active in a website such as Authonomy, you can learn a lot about writing, as well as receiving (hopefully constructive) criticism of your own work. Not only does the latter help you improve said work, but it will help thicken your skin for the inevitable bad reviews and so on later. You can also make a lot of good connections.

FINISHED!

Hooray, you’ve written a book! Calm down. At this point, I usually go straight back to the beginning and start going over it again. The better plan would be to take a longer break of anywhere between a week and a few months, then come back to it with fresh eyes.

– Rewrite

How you go about this is up to you, but I’m going to dictate anyway. Rewriting and editing are fairly in-depth topics in their own right so, as with everything else here, you should probably read (or have read) a book or article specially written for the subject. That said…

Rewrite

Don’t start with edits. I didn’t say ‘rewrite/edit’, I just said ‘rewrite’. You could say they are practically synonymous, but here that means that you should start with structural changes, not line edits. Line edits being rearranging sentences and the words within. Structural changes are drastic things that may change even the basics we planned out: genre, setting, narrator, etc.

You might, as many of us do, find that your opening just doesn’t work. Perhaps you have a prologue, the information in which would be better scattered throughout the first few chapters. Information dumps are bad!

Perhaps a character turns out to be quite boring and unnecessary, and should be deleted. Or perhaps the book is missing a vital character that you need to insert.

You might start by reading over your book with a notebook beside you. Skim over it, ignoring the wording for the moment, and just concentrate on the bigger picture. Anything that strikes you as out of place, unrealistic, overflowing with information, or anything that trips you up or catches your eye, write it down to come back to it once you’ve finished your read. Apart from anything, skimming through like this is more likely to help you catch plot holes or scenes that are too slow or too fast, etc., than a normal read, or while editing.

Some people go for a more literal rewrite at this stage, and will write the book again from scratch. Presumably, you would write an outline of each chapter and work off that, but I don’t think that method would work for me. The closest I’ve got to that is with the novel I’m currently working on. I have already written a fair amount of it, and now that I’ve finally gone back to it, I have it open on one screen while I write it again on the other. This means that some lines are identical between the two, while others are added to, or taken away; in other parts, entire chapters are added. But, again, I don’t think this benefits me any more than simply rewriting in the same document.

– Edit

Now it’s time for the line edits. Would this sentence work better if it came after that one? Would they both work better if they were merged into one? Should that whole paragraph be condensed into one sentence, or deleted completely?

Line Edit

You will almost certainly find yourself rewording individual sentences at this point. If you can avoid doing so until you make a dedicated edit run for that, it may be for the best, but it may also be unavoidable.

Just as when you finished your first draft, it is a good idea to leave the book to rest a while between edits. Fresh eyes will see new issues every time.

The final step of an edit – for me at least – is to look at the individual words. You will probably have reworded many of your sentences by now. But even when looking at the big picture, it is hard to see when you’ve overdone things. Using a character’s name too many times in quick succession, too many iterations of certain words, etc. I have a list of words I do a quick search for, to begin with. I have a tendency to use the word ‘suddenly’ a little too often. While I have slowly weaned myself off this habit, I still search for iterations of it. It’s one of those words that is rarely necessary. If I have more than, say, three iterations of it in the entire book, then it’s overused. I try to aim for only one or two but, again, only if it reads well.

Other things to look out for are unnecessary/superfluous words (usually adjectives or adverbs), correcting misused or mistyped words (it’s/its, their/there/they’re, your/you’re, learnt/learned, though/through/thought, quite/quiet, etc.), common mistakes that have become ingrained in most people’s minds (percent vs. per cent, alright vs. all right, damnit vs. dammit/damn it, affect vs. effect, etc.). I’d like to give a special mention, American readers, to ‘I could care less’. This is NOT the phrase. It’s ‘I could NOT care less’.

Some words that are commonly used unnecessarily are ‘that’, ‘very’, ‘suddenly’, ‘just’, ‘then’. The list goes on, and it’s not difficult to find whole articles (and probably books) written on the subject of such words. Don’t say ‘ran very fast’, say ‘sprinted’. Don’t say ‘very angry’, say ‘furious’.

Dialogue Tags

But don’t go through your work changing words for no reason. Don’t go through and think ‘Uh oh, I saw that on a list somewhere; I’d better change it’. For example, some people say that the word ‘said’ is overused. Well, I’d like to see a writer not use ‘said’ as a dialogue tag without crossing into highly irritating, contrived territory. Other sources will say that ‘said’ is by far the best dialogue tag, because it becomes all but invisible to the reader, allowing them to be aware of who is talking without having to focus on contrived tags.

It can be difficult not to fall into the trap of changing words simply because they’re listed as overused or unnecessary or whatever. If you do start changing words for no real reason then at best it will come across as contrived or pompous, or at worst…remember the episode of Friends when Joey used a thesaurus to make his letter ‘better’?

In other words, use your own common sense and stick to your own style. Sometimes an overused or cliché word simply works. Again, people complain about J.K. Rowling’s overuse of adjectives and adverbs, but has that damaged her writing and career? If it works, it works. Just make sure if you break ‘rules’, and leave things in that might be topics of complaint, that it’s for the right reason (i.e. it reads well).

Consistency may need its own pass. Do you have something capitalised sometimes and not others? Is your character wearing a jacket in one scene and in the very next, he’s scratching his bare arm? Consistency in the writing itself and in the content is, obviously, very important.

There are some automated writing services online that may be of use, especially when you’re just starting out. I can’t for the life of me remember the one I used for Shadow of the Wraith, but it looked for a lot of stuff, from spelling and grammar errors to word usage and those overused words I mentioned earlier.

Whether or not you use such a thing as a basic part of your editing stage is up to you, but I would suggest you’re careful not to rely on it any more than you do on Word’s spellchecker. DO NOT RELY ON WORD’S SPELLCHECKER!

If you make it all the way through this guide and don’t notice any errors or inconsistencies, you might need to give your own work some extra goings over. For example, I’ve capitalised some words for emphasis, while italicising others. If you pick up on stuff like that, it’s a good sign.

I mention it in part 3, but it’s worth noting here too that it’s notoriously difficult to proofread your own work. You will end up reading what you know is meant to be there rather than what is there.

– Beta

The next stage for a lot of writers is to send the book off to beta readers. This basically means you give the book to family and friends, perhaps writers’ groups or websites, for feedback.

Beta Reader

While this is a good idea, it can be quite disheartening. While professional or pseudo-professional writers will likely be pretty harsh, you might find friends and family will let you down completely. I sent Acts of Violence to a handful of friends, and not one of them read it. So don’t rely too much on beta readers, as there are a few too many people out there who don’t know how to say ‘no’, and it ends up screwing things up for you a lot more than that ‘no’ would. Plus, it’s difficult to be totally honest about the negatives to a friend or relative.

So places such as Authonomy are probably your best bet, but there are downsides here, too. You can’t just upload your work and expect people to flock to it; you have to put work in. You will end up reading and commenting/critiquing more than you receive comments/critiques, but even that will help you. Even while you are identifying problems in other people’s work, you may realise that you’re making the same mistakes, for example.

In this stage, you have to be ready to take (constructive) criticism. Even pretentious writers who consider themselves wordsmiths of the highest order, yet can’t get an agent any more than anyone else, may have valid points. The main thing to remember is that, much of the time, it’s just one person’s opinion on how writing should be done. It may or may not be relevant to you, your writing, and your style.

In short, read/listen to and take in everything, but don’t make these assumptions: A) That these opinions and views all need to be implemented into your writing; B) That none of these people understand you/your writing, and they should be ignored.

Finished Book

If you have no desire to take things any further and get published, or just print out a nice paperback copy of the book for yourself, then read no more! Otherwise, part 3 will cover what you need to know next…

How to Write a Book: The Beginning

Not long ago, I was at a meeting at which my being an author came up. During a lunch break, a woman started talking to me about writing, and how she’d always wanted to write something. She was asking me questions about how you know if you’re a writer, how you go about writing a book, and so on.

On the one hand, I see people saying things like that similarly to telling a brain surgeon how you’ve always wanted to perform brain surgery, but never had the time or never got round to it.

Sit Down And Write

On the other hand, it’s not for me to tell people that if you’re not writing then maybe you’re not a writer. Perhaps people genuinely suppress that desperate need to write that actual writers feel, because they don’t know how to go about starting a book. Maybe.

Regardless, the question of how to write a book is one that is asked a lot. The internet is also overflowing with articles and step-by-step guides. It could figuratively literally burst at any moment because there are so many. So I’m going to write one too.

My guide on how to go about writing a book is not an ‘expert’ one, nor a hugely in-depth one (otherwise it would be in a book, wouldn’t it?), or an all-encompassing one. It is simply based on my sphere of experience and knowledge: what does and doesn’t work for me, and what does and doesn’t work for other writers I know.

I’ll only go over the basics, and then you’ll go away and put thought and research into the stuff and whatnot therein. This is more of a pointer in the right direction than an attempt to rival Stephen King’s ‘On Writing’.

So, with the disclaimer that it’s not my fault if you finish reading this and still don’t have a best-selling novel with your name on it, let’s start. Oh, also, I’ll be using my own work as examples; I shouldn’t have to spell it out, but it’s not for advertising purposes.

PREPARATION

Aside from the actual writing, there are some other things you need to do and think about.

– Buy A Notebook

You will almost certainly find yourself coming up with ideas for storylines, characters, scenes, even single lines of dialogue or description that you will want to remember. No matter how much you think ‘I’ll remember it’, there’s a very good chance you will not. The same goes for dreams. It’s too easy to wake up in the middle of the night with an idea and be too tired and relaxed to write it down, thinking that you’ll remember it in the morning. Then you don’t. So write it down, even if it’s only so that you can look at it in the morning and wonder how you ever thought that was a good idea.

Notebook

– Learn The Rules

Writing isn’t just about thinking up a good story and interesting characters; writing is about…writing. That means your characters and story need to come alive on the page and in the reader’s mind. And for that to happen, your writing itself needs to be at least solid.

Obviously, just knowing the difference between an adjective and an adverb isn’t going to make you an amazing writer. Knowing how to use adjectives sparingly, and to show not tell, won’t ensure that your novel is the next Game of Thrones. But once you know the ‘rules’, you’ll know when you can break them. You’ll know what a pile of crap many of them are. But even the rubbish ones are there for a reason, and may make you think twice about an iffy sentence.

You can’t paint without learning how to paint. And once you know how to paint, you can do whatever you want with the knowledge and skills you’ve learnt. Do you think Picasso was taught to paint the way he did, or did he learn to paint traditionally, and then take all of those skills and paint his own way?

– Read

You may have heard this so many times that it now annoys you. We’re always told that a good writer is a good reader. This of course means that we deconstruct what we’re reading and work out why something on the page works or doesn’t work. We think about how we would have written the same scene or dialogue. Perhaps we imagine our own characters in place of the book’s.

Stephen King

Reading improves vocabulary, opens you up to different styles and character points of view (first person, third person, etc.). You’ll see from reading other authors’ works just how much you can get away with. I found myself obsessing over adjectives and trying not to overuse them, until I read the first chapter of an Ian M. Banks novel. He broke so many of the ‘rules’ and it didn’t matter. His paragraphs spanned entire pages, some sentences ran on for multiple lines, I counted something like nine adjectives and adverbs in a single sentence… But none of it ruined the writing or put me off.

And what about the Harry Potter books? J. K. Rowling is quite fond of adjectives, and takes some criticism for it, but has that fondness damaged the books or their sales? Depending on what source you look at, the Harry Potter series is either the third or the fourth bestselling/most read of all time. Do we really think that if she used less adjectives, her sales would outstrip anything else?

So read.

– Why Are You Writing?

You should probably have it straight in your own head why you’re writing a book. Is it because you think it will make you money? Because you think it will be easy? Because someone else wants you to?

Isaac Asimov

I won’t go into details and statistics about the money side of writing, because it’s depressing. And because I can’t be bothered to go looking for said statistics. Even if writing a half-decent book guaranteed you several years’ income, it’s not a good reason to write. You’ll get bored and frustrated, and you’ll either give up or put out a really crap book. The same goes for most reasons for writing, really. If you’re not writing for you, then you probably shouldn’t be writing. If you have any doubts about whether you actually want to be a writer, try writing a short story and see how it feels.

PLANNING, PLOTTING, AND SCHEMING

That’s an Oxford/Serial comma. If you don’t know that, you should still be in the preparation stage! It’s entirely arguable that I shouldn’t have used the Oxford comma there, but never mind. Clarity over convention. Not that the title needed clarity. Moving on…

Straight away, this is diverging from my own routine. I tend not to plan beforehand. I just have an idea for a story or a character, or even a scene or event, and I write it. Then I just keep writing. As I write more, the world and the story develops around me, both on the page and in my head. That’s when I start to plan more. That’s when I start writing ideas of where the story is going, what’s going to happen to the characters, etc. But that way comes with its own problems, so if you’re just starting out, you might be best planning.

Kurt Vonnegut

The thing to remember, perhaps above all else, is that what you plan and what happens on the pages of your book are not going to be the same. That’s fine. Once you breathe life into your characters and your world, you can’t possibly expect to stay in control. You nudge and suggest, and your creations will agree or disagree.

A good example is my thriller, Acts of Violence. Years ago, I wrote a few chapters of a book, which my computer then decided to delete. Thankfully, I’d been sending updates to my granddad, and he’d been printing them out. The last update I’d sent was only about half of what had been deleted, but it was something. I decided last year that I would take that story and those characters, and rewrite it in a sci-fi setting.

The result was absolutely nothing like what I wrote all those years ago. It doesn’t bear the slightest resemblance. The one and only thing the two share is the protagonist’s name. So I got what I think is my best work, and I still have the old story to rewrite sometime down the line.

– The Basics

The first things to decide are the basics. What is the genre? What is the setting (including time period)? What POV will you be writing from?

These are obvious and important. Each one will also sway the others to some extent. If the setting is the Crusades, for example, there’s a good chance it won’t be a romance. And if it is, why is it set during the Crusades?

Point of view is an important one. Is it first person, where we’re in the head of the protagonist (or antagonist, if you’re clever about it)? This will mean that you have to stay in his/her head for the entirety of the book, unless you are a very talented writer and can make a mix of first and third person POV work. Is it third person, where you can afford to be a little more omniscient? How many characters’ POVs will you write from? Just how omniscient will you be? Will the narrator him/her/itself have a voice?

While these are important things to decide before you put pen to paper – literally or not – they may well change. Again, Acts of Violence was meant to be third person, because I don’t like first person. But the line that popped into my head and caused me to abandon what I was writing in favour of the thriller was ‘As his nose cracked under my knuckles, I reflected on how much I hated violence’. It’s a first person line and I liked it. So I didn’t have much choice in the matter after that. It turned out that first person suited the novel better than third person would have. Even something as seemingly set in stone as POV can change in the course of writing.

– Story

KS2 Story Planner

For KS2, but still relevant!

The most obvious thing to plan. What, why, how? Also who, when, and where, but that’s kind of covered in the basics. (Side note: you’ll notice I used the Oxford comma again, and again it was arguably unnecessary, but…consistency!). This part of the planning can be as vague or detailed as you want. If you’re going for detailed, just remember what I said about things changing.

How are you going to introduce the story? What is the conflict or problem that needs to be solved? In what way are you going to develop and progress the story – will there be a trail of bodies, each more grisly than the last as the killer becomes more bold, until he slips up? What will the climax be – probably the hero will confront the villain, or the oblivious lingerie model will suddenly realise she/he loves the hopeless romantic.

How will things be resolved? Will the hero die? Will the villain die? Will the hopeless romantic realise that the lingerie model actually isn’t a very nice person and go travelling to find him-/herself? What loose ends might there be? You won’t really know this until you actually get to the end, but there might be some obvious ones that you can note down from the start, so you remember to check. Perhaps you’re writing a mystery, and one of your red herrings leaves town early on. You’ll have them do it so that the reader will be more suspicious, but then you might forget all about them, and never actually have the detective work out where they went, or why.

– Characters

This is, in my opinion, more important than planning the story. Although it may be entertaining for you to get to know your hero as you go, it might not be a good idea. Your hero needs to be fully formed, and while your writing might give the reader the impression that you’re writing about someone you know personally, there’s a good chance that it will be obvious you’re just making him/her up as you go.

Perhaps your hero finds himself locked in the back of a truck with a ticking bomb. He rolls up his sleeves and manages to defuse the bomb just in time. But your readers are left wondering at what point this insurance salesman learnt to defuse bombs. Did the writer only decide at this point in the book that he was once a master spy?

Even if your readers are only now meant to learn this information, you need to be aware of it from the start. If you kick off your story with your hero tripping over his untied shoelaces and falling down the stairs, there’s a good chance the reader won’t believe for a second, later on, that he was once a master spy. If you already knew that he was, you’re not going to write something like that, but you will probably write in little things that will then later be recognisable as clues.

So take some time to write your main characters’ background stories, write about their appearance, and note any peculiarities they have. It could be something small but very unique to them; it could be something a bit more common (in Acts of Violence, Jack’s anger can get the better of him, and he tries to be smart-mouthed, but sometimes his brain isn’t as quick as his mouth); it could be something bigger and more central to the story, such as Walter Mitty’s daydreaming.

If you don’t feel like you know your character well enough to write the background yet, you could try writing a short story about him/her.

Do not forget to do this same thing for the antagonist. Very rarely should your antagonist be flat and simple. It depends on what you’re writing, of course, but the antagonist will almost always have a reason for doing what they’re doing, may have doubts about it sometimes, etc. Depending on how often he/she/it comes into the story, the reader might not get to see these things too much, but again, you knowing them will make all the difference.

Antagonists

Read about how to write good antagonists. There are plenty of different kinds. Some are acting out of emotion, some out of logic, some out of fear. Perhaps your villain is an android, only doing what it’s programmed to do. This is one of the few cases that a 2D villain would be acceptable, though you’d still need a reason for it being programmed the way it is, so in effect, the programmer would become the true villain, even if he/she is long dead.

Motivation is one of the most important things. Why are the characters doing what they are doing? That goes for the protagonist, the antagonist, the side characters, and even the bit characters (don’t let even your smallest characters be 2D). If your hero jumps into a taxi and tells the driver to run the red lights, you’d better have a good reason for the driver to comply. Does the hero have a gun, perhaps? Or does he offer a large sum of money? There needs to be motivation for everything.

– Miscellaneous

There may be other bits of planning you need to do. If your story is complicated, or contains quite a few characters, you might find it useful to draw out a simple chart. You might save yourself a headache if you can see the book’s timeline in front of you: where the characters intersect, the important events occur, etc.

If you’re writing a murder mystery, you might want to plan each murder ahead of time, listing out the items, weapons, clues, witnesses, and so on, that are involved. Different kinds of book will require different kinds of planning.

– Research

Unless you are the world’s foremost expert on your subject, you should do some research. If you’re writing about one man’s quest to find a yeti, do research into past expeditions and findings. If you’re writing about going back in time to walk with the dinosaurs, research what Earth’s atmosphere was like back then, and what kinds of dinosaurs would have roamed various parts of the world. Even in a fantastical book such as that, you wouldn’t really want your hero to witness a fight between two dinosaurs who would actually have inhabited different continents.

Remember not to assume that your reader knows everything you do, but also don’t patronise them. Perhaps more importantly, remember that your characters probably don’t know everything either. Perhaps your time traveller is a genius who has built a time machine and wants to go back 100 million years, but it takes a friend or colleague to point out that there was less oxygen back then, so he should prepare for that.

Research

It’s okay for your characters to lack knowledge. Think about how much you know about. You might drive a car, but do you know how that car works? You probably use a computer, but do you know how it works? It’s not so okay for the writer to lack knowledge however, as in the time travelling examples. It’s better for one of your characters to point out the oxygen issue to your hero than to have one of your readers point it out to you.

It might be boring to research – especially if you already think you know a lot about the subject – but it’s important. Besides, think how knowledgeable you’ll be afterwards. Perhaps that’s why so many famous authors seem to be intelligent and knowledgeable.

And now it’s time to write! Which will be covered in part 2

Space Games – BBB

Space Games

By

Dean Lombardo

Space Games Cover

The cameras are on and the gloves are off in this battle of the sexes in space.

Say hello to Robin and Joe—contestants in 2034’s “Space Games,” a high-stakes reality TV show from Hollywood producer Sheldon J. Zimmer set aboard next-generation space station, ISS 2. The winner takes home a multimillion-dollar jackpot and a chance at stardom, while the loser faces the ultimate in public humiliation. Only former NASA astronaut Vince, acting as the station’s commander and the games’ sole referee, can separate sexy spitfire and martial artist, Robin Miller, from her brutal opponent, “Big Joe” O’Donnell, as the pair compete inside the cramped zero-g environs. Watched by millions of people back on Earth, the reality show rapidly degenerates into a deadly spectacle.

Space Games is a compelling story and a biting satire about reality television: those who make and participate in it – and those who watch it.

Excerpt:

WARNING: Contains naughty words!

In the video, a woman jogged down a palmetto-lined street. As she neared the camera’s lens, the recorder refocused, compensating for her approach, framing her from the waist up. She sprang past, moving off-camera from right to left.

A new perspective: The cameraman had caught up and he was in front of her now, backpedaling. The picture on the monitor shook and became unwatchable until the woman slowed and began to run in place.

“My name is Robin Miller. I’m twenty-six and I’m the softball coach for the University of Cal-Irvine.”

“I knew it,” said Sheldon Zimmer as he and his assistant watched the TV monitor inside Zimmer’s Los Angeles home. “California girl. History of softball. Gotta be one of those . . . you know.”

“Not exactly,” Morty answered. “Listen to what she says.”

The woman on the screen was undoubtedly attractive. Though her halter-top and hair were darkened with sweat, and the sheen of perspiration covered her face and limbs, she had a pureness about her. Maybe it was the way her ponytail bounced behind her as she ran, or the clusters of freckles on her nose and cheeks. Or maybe it was the slender physicality, her overheated panting as she continued to jog in place.

“I want to be on the TV show ‘Space Games’ because I’ve always been . . . I don’t know . . . daring . . . competitive. My girls at UC-Irvine won the College World Series last season and instead of going to Disneyworld, I’m going into space to kick some guy’s ass.”

“That seals it,” said Zimmer, the show’s director and executive producer. “She definitely is one. Hot, though.”

“Uh-huh.” Morty pointed toward the screen. “We’re almost to the part about her parents.”

In the next cut, the woman punched a sparring bag, her gloved fists denting the vinyl surface. She followed by snapping a series of violent roundhouse kicks.

“I like to stay active.” Kick, punch, punch, punch, backfist. “I do triathlon training in the offseason.”

Another roundhouse kick, just a blur.

“Shit,” Zimmer said, pinching his lip.

“I know,” Morty replied. “Very athletic, energetic. That’s one thing to her advantage, especially in space.”

“No—I mean angry. Reminds me of Kat Turner, remember her, Morty? With the right guy we could have a ‘War of the Roses’ in outer space.”

“That’s what I wanted to talk to you about, Shel. It’s a reality show, not an old-style black comedy. Tragic endings aren’t what we want, and our two contestants are going to have their hands full already, dealing with all the physical, mental and emotional strains of—”

“I know,” the director said, cutting Morty off. “But without some conflict . . . ”

“Too much conflict isn’t good, either,” Morty said. “Shel, I vote against this candidate. I didn’t even want to show you her tape. She doesn’t fit the profile provided by the NASA consultants. For legal reasons, I’d—”

“Fuck the NASA consultants! What do they know about television?”

Now the young woman was relaxing on a couch. She stretched forward to paint a toenail.

Morty gestured toward the screen. “Here it is. Check out this part.”

“My parents trained together at NASA. My mom’s from California, Dad’s from Des Moines. They met during training, and then fell in love during their joint mission aboard the International Space Station.”

“Why is she telling us this?” Zimmer complained. “Why do I care about this shit?”

The woman flexed her toes, leaning forward to inspect the drying polish. Then she looked up into the camera and smiled. “My mom used to tell me I was conceived up there.” She pointed to the sky. “Aboard the space station . . . the first ISS.”

Zimmer blinked. Then he glanced at Morty. “What’s her name again?”

“Robin Miller.”

“Sounds very WASPy. Bitchy. I like that.”

“The NASA recommendation,” Morty reminded. “They interviewed her . . . did a thorough background check . . . they advised us that our top-two choices were not compatible.” Morty tried to remain calm. “Shel, let’s play it safe here—while we may know television, NASA knows space and its psychology. It’s unknown territory for us.”

“She’s hired,” the director snapped. “Now show me our boy Joe one more time.”

“Shel—”

“I know a great story when I see one, Morty—now get Big Joe back on so I can have one last look before I sign his ass, too.”

About the Author:

Dean Lombardo

Dean Lombardo works as a writer in the information technology industry, turning what is often techno-babble into messaging that can be understood by a general business audience. At age 11, he was psychologically scarred by the movie “Alien” and has been watching, reading and writing frightening science fiction and horror ever since.

“Space Games” will be Dean’s second published novel.

Dean lives in northern Virginia with his family and the world’s most beautiful yellow Labrador Retriever, Trixie.

Link for Dean:

http://www.deanlombardo.com/

http://www.amazon.com/Dean-Lombardo/e/B00DLNBEZS/ref=ntt_athr_dp_pel_1

Purchase Links:

Space Games is available in both paperback and e-formats, in the following outlets (plus many more):

Kindle UK and US

Paperback UK and US

Barnes and Noble

In all e-formats from Smashwords

Space Games

Previous Work:

Vespa

A Science Fiction Horror novel released by Active Bladder in August 2007. Something terrible is hatching. The victims are all the same. Snatched from their homes and then buried alive, only to be found days later, dead, and completely stripped of their organs and flesh. The police and media suspect a serial killer, but the feds know otherwise and call on Tom Goodman, an expert in the biological control of invasive species. Something far more terrible than a human hand or rogue bear is at work in this small town besieged by death, and Goodman must figure out a way to exterminate the invader before it exterminates him and everyone around him. But to defeat the creature, Goodman must better understand it…and get inside its head before it gets inside of his.