Congratulations to 4RV Publishing's President Vivian Zabel for Cupid Awards Win!

 

Please join us in congratulating Vivian Zabel, President of 4RV Publishing, on her recent Cupid Awards win! The Cupid Awards are overseen by the Oklahoma Romance Writers Guild. Zabel's unpublished short story, "And the Winner is..." took the top honor in the Non-romance with Strong Romantic Plot category. 

To learn more about Vivian and her books, please visit her website at http://www.vivianzabel.website or her author page on the 4RV Publishing website at http://www.4rvpublishing.com/vivian-zabel.html

Writing Superpowers - Foreshadowing & Eliminating Inconsistencies

 

Today, we wrap up our conversation about writing superpowers. Let's discuss ways to keep readers engaged when characters act out of character and how eliminating inconsistencies in a manuscript creates a better story.  

Have you ever been fully into a book when suddenly your main character does something you would never expect? Does it make you sit up and say, "What just happened? They would never do that!" 

Why do readers feel taken aback when a character acts "out of character?" 

First, readers feel a connection with the main character. They invest time and energy in getting to know that character's thoughts, actions, and motivations. The connection breaks when the character acts in a way they don't expect. An interruption in an established pattern can lead readers to feel betrayed. 

Second, unexpected behavior can seem random if it's not properly foreshadowed. 

Foreshadowing provides a hint of what is coming. Whether it be direct foreshadowing that openly suggests a problem or plot twist, or indirect foreshadowing that drops clues that lead to a revelation for the reader, recommended rules are that foreshadowing be relevant to the plot, subtle so that it creates anticipation or suspense, and properly timed so the reveal is satisfying to readers. 

For eliminating inconsistencies, type out character worksheets and a brief or detailed outline. The spelling of characters' names and their physical descriptions can be as hard to keep track of over a 250+ page novel as the sequence of events from beginning to end. Draw a simple map to remember where each building in your fictional town is located (especially important if you're planning a series). 

How did you enjoy traveling through these writing superpowers? Is there another topic you would like us to cover? Just for fun, are you a plotter or a panster? 

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

Writing Superpowers - Point of View

 

Today, we continue our conversation about writing superpowers. I'm a huge fan of deep point of view. As a reader, I like to get inside my character's heads and figure out why they act the way they do. That's why it's easy for me to find unintended point of view shifts in manuscripts I edit.

What is point of view?

As Merriam-Webster defines it, point of view determines who is telling the story and what the narrator's relationship is to the characters in the story. The most common points of view are: first person, second person, third person limited, and third person omniscient. Let's look at each of these. 

First Person - narrator is a person in the story

Since the narrator is a character in the story, the reader experiences the events that unfold from their point of view. This creates a close and immediate connection between narrator and reader. It is, however, limited to what the narrator sees, and their descriptions can be tainted by their mood, experiences, and opinions. This point of view also lends itself to exposition and summarization instead of fully developed scenes.

Example: Phlegm rattles in my throat. Each breath claws at my chest, burdened by the weight of my ragged coughs. Beads of sweat trace fiery trails down my cheeks, as if the scorching prairie sun lives inside me. I can’t stop now. John needs the money tomorrow.

Second Person - narrator is speaking directly to the reader 

Second person point of view allows the reader to become a character in the story. Just like first person, second person creates a close connection between narrator and reader. Where they differ is in first person, the reader experiences the story through the narrator's eyes, but in second person, the reader experiences the story through their own eyes. 

The challenge with this point of view is that the writer must create a character any reader can relate to or see themselves as being. Though it can create a close connection between narrator and reader, sometimes, it is more distancing to the reader. 

Example: Phlegm rattles in your throat. Each breath claws at your chest, burdened by the weight of your ragged coughs. Beads of sweat trace fiery trails down your cheeks, as if the scorching prairie sun lives inside you. You can’t stop now, you think. John needs the money tomorrow.

Third Person Limited - narrator tells the story from a single character's point of view

In third person limited, the reader is told a story from a single character's point of view. All the narrator knows are the thoughts and feelings of the protagonist. The story develops around this main character. It can be more distancing to the reader, who is limited to the experiences of this one character. 

Example: Phlegm rattled in his throat. Each breath clawed at his chest, burdened by the weight of his ragged coughs. Beads of sweat traced fiery trails down his cheeks, as if the scorching prairie sun lived inside him. I can’t stop now, he thought. John needs the money tomorrow. 

Third Person Omniscient - narrator knows everything

In third person omniscient, the narrator can share the entire story without the bias of a single character's point of view. They can have their own voice and can share details they know that the characters might not be aware of. While this point of view offers flexibility to the writer, it can distance the reader. And, hopping from character to character can create confusion. 

Example: Phlegm rattled in his throat. Each breath clawed at his chest, burdened by the weight of his ragged coughs. Beads of sweat traced fiery trails down his cheeks, as if the scorching prairie sun lived inside him. He couldn't stop now. John needed the money tomorrow.  

What is your favorite point of view to read and to write? What are your biggest struggles with writing from your chosen point of view?

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

Writing Superpowers - Dialogue

 

The hosts of a kidlit podcast spoke about how their superpowers helped them in working with author clients. That conversation got me to thinking about what I might say are my superpowers and how they help the authors I work for as an editor. We will look at my three superpowers over the next few weeks. 

I write good dialogue.

It might take a few drafts to get there, but the final copy flows naturally. It isn't interrupted by useless tags, doesn't dump a whole bunch of information on the reader, and makes each character unique.

Let's talk about dialogue for a moment. Here is a typical conversation you might have as you enter a meeting with a colleague.

"Hello," I said.

"Hey," my colleague responded.

I ask, "How are you doing?"

"Okay," he said. "You?"

"Fine." I sat down in my chair.

"Did you read the materials Mary emailed to us?" he asked.

Nodding, I replied, "Yes. Hope we aren't here for too long."

"It will take as long as it takes." 

Mary entered the boardroom. "Great, you're both here. Let's get started. We might have to order lunch in." 

"Wonderful," I replied. 

Could you make it through this passage without yawning? 

Dialogue isn't boring everyday speech. It serves a purpose: to move the story along and engage the reader. Unlike the example above, greetings and small talk are often eliminated because they don't serve that purpose.

Tags help identify who is speaking to the reader, but too many "he said" and "she said" tags interrupt the flow of engaging dialogue. Renowned author Jerry Jenkins once rewrote a book by incorporating actions and descriptions to attribute dialogue to characters instead of using the "he said/she said" tags. 

Side note: In writing, we may change up said with other words: exclaimed, grumbled, and my all-time favorite, smiled. Have you ever tried to talk while you're smiling? Said often goes unnoticed by the reader, who is focusing on what the character is saying, which is why it is the preferred tag. Let your characters' actions communicate their emotions.

Dialogue shouldn't dump a bunch of information on the reader. I once read a Civil War novel about two brothers that spent pages and pages having characters share stories about the current conflict. Instead of moving the story along, this info dump distanced me from the characters. By the end of the novel, I felt I really didn't know the brothers at all. Any information that is communicated through dialogue needs to move the story forward. 

Good dialogue, when blended with action--and sometimes intentional inaction--helps you to create unique characters. While a character's dialect or accent can make them stand out, pitch, volume, and tone are equally important. Other things to consider:

• Setting and background can influence how characters speak.
• Personality influences how they speak.
• The way characters speak could change depending upon the situation they are in.

Let's look at the interaction from earlier, with small talk eliminated and more action and dialogue that moves the story forward.

Mark peered over the screen of his laptop where he had been tip-tapping away, to flash me a smile. His fluorescent white teeth made me squint. “Did you read the materials Mary emailed to us?”

Marching to the opposite side of the room, I slid the laptop bag off my creaky, middle-aged shoulder and placed my belongings on the table. My lips curled into a sneer. “Yes. Hope we aren’t here for too long.”

“My, my, my,” he said. “Someone forgot their gratitudes and affirmations this morning.” 

Mary waltzed in before I could respond. “Great, you’re both here. Let’s get started.” She tapped the pile of client folders she had carried in. “We might have to order in for lunch.” 

My fingers curled around my cup of tea. “Wonderful.” I hope Mark is available to pick up the kids from school. 

Does this version give you a totally different idea of what is going on here? Does it change how you view the characters' relationship? Do you see some personality shining through? Is it more engaging? Another edit or two and it might find its way into a story. 

What is one of your writing superpowers? What do you like best about writing dialogue? What are your biggest struggles with writing dialogue?

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's website at https://ccmalandrinos.com or her children’s book blog at https://childrensandteensbookconnection.wordpress.com

How to Give Basic Writing Advice

Contributed by Karen Cioffi, Children's Writer

 A while ago, I was asked to look over a children’s fiction picture book manuscript. This was not a paying job, just a favor.

The ‘new to writing’ authors, who are both health care professionals, had already been calling major publishers to find out submission requirements. They were told their manuscript would not be looked at without an agent.

So, they went to the library to find a book on top agents.

While this is a worthy endeavor, there are some basic first steps to take before shooting for the stars.

Just glancing at the manuscript, I knew it needed a lot of work. And interestingly, I was surprised to see so many errors in a simple 600-word story.

It seems as we progress in learning the craft of writing, we forget that we didn’t know the very basics at one time either.

So then, I had to figure out what to say to the authors without alienating them or totally discouraging them.

When critiquing or giving writing advice, it’s important to begin with the positive aspects of the manuscript. If the errors are basic and there are a lot of them, you may also want to state them in generic terms, not to offend the author/s.

What does this mean?

Well, it’s not a good idea to say, “You shouldn’t have the children’s picture book manuscript formatted in lists, numbered, or in Australian Sunrise 10pt font.”

Instead, you might say, “Manuscripts are usually preferred typed in New Times Roman 12pt font, and are double spaced using a free form flow with the first sentence of each paragraph indented.

See the difference?

To help with clarity, you could include a first page example of a manuscript you have, or rewrite the 1st paragraph of the authors’ manuscript.

If there are just too many errors, for time’s sake you can make a list of proper manuscript formatting tips. This is the approach I took.

I started out with the ‘positive:’

This is a wonderful idea for a children’s book and has great potential, especially that both of you are professionals in the health field. Children will certainly benefit from the story’s information. It could use some tweaking, though.

Then I added the following:

Here are a few tips for writing and formatting a manuscript to help get it submission ready:

•    Manuscripts should be formatted in 12 pt Times New Roman Font
•    They should be double spaced
•    They should be in free form without numbering for pages or in list form
•    The first sentence of each paragraph should be indented
•    Children love action – actions are better shown through ‘showing’ rather than ‘telling’
•    Notes for illustrations after each of your intended pages are usually frowned upon by publishers
•    Most publishers, especially the major ones use their own illustrators
•    Manuscripts are more likely to make it past the slush pile if they are polished
•    Usually writers go through a process of one or two critique groups and writing groups. After rewrites and editing it gets to a point where it looks perfect. That’s when it needs to be professionally edited.

These tips are part of the advice I offered the authors and I kept it as generic as possible.

After you note the manuscript errors, you should end your advice on another positive note. You might say, “With rewriting and editing, you will have an engaging story that children will be sure to love, and it’ll be submission ready.”

I then provided several writing links about writing for children and editing.

Since every author’s personality is different it’s usually best to use the gentle approach when offering writing advice.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include “Walking Through Walls” and “The Case of the Stranded Bear.” She also has a DIY book, “How to Write Children’s Fiction Books.” You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.  

 

Submissions Wanted: Acquisitions Editor Cheryl C. Malandrinos Shares Her Wish List

 

Earlier this year, the 4RV editing team connected over Zoom during one of their Between the Covers of 4RV sessions to chat with readers about what they would love to see for submissions. Here is my short list:

• Southern fiction - especially involving family secrets and the rich history of the South

Since 2007, Southern fiction has been one of my favorite genres. The rich history of the South lends itself to marvellous stories. I also enjoy stories involving family secrets. I'm not opposed to ghosts in these stories, but I am also okay if no ghosts are involved. 

Authors/books in this genre that I've read: Rhett DeVane, Karen White, G.K. Davenport (whose debut novel, Dust of Lies, I was blessed to edit), Property by Valerie Martin, and Stella by Starlight by Sharon M. Draper.

• Middle Grade/Tween/Young Adult paranormal mystery-solving friends

I grew up a huge lover of Scooby-Doo, and mystery remains one of my favorite genres. Most of the mysteries I read don't include a paranormal element, but they are popular in these age groups. The most important thing to note is that these mystery solvers and their storyline must be uniquely you. I would love to see underrepresented voices in these stories. Some humor would be great, and a dabble of romance for older readers. 

Authors/books in this genre I've read: The Crypto-Capers series by Renee Hand, the Gus LeGarde Mystery series by Aaron Paul Lazar, The Case of the Haunted History Museum by Steve Brezenoff, and A Properly Unhaunted Place by William Alexander.

• Christian historical fiction featuring a fictional or Biblical female lead 

This is a broad idea, so let me see if I can focus it for you. The fictional lives of Biblical women intrigue me because they allow me to explore my love of Bible history and help me better understand these women of faith. Michal, the daughter or Saul and wife of David, featured in The Secret Life of Kings by Yochi Brandes and Mary, Called Magdalene by Margaret George, come to mind. 

However, I love Christian historical fiction set during almost any time period with fictional lead characters as well. Christian/inspirational romance also catches my eye. 

Authors/books in these genres that I've read: Kathi Macias, the Crossroads of Grace series by Allison Pittman, and The American Patriot Series by J. M. Hochstetler.

• Historical fiction set during Colonial America or the American Civil War

These are times in American history that I am most familiar with, having studied them in college. I also read more historical fiction set during these time periods than any other. For younger readers, I like a time travel element where the characters travel back in time to solve a problem. For adults, I enjoy a good spy story, characters whose stories unfold against the backdrop of battles, or escape to freedom stories. Attention to historical detail is a must. However, no graphic violence or intimate physical scenes should be portrayed.* 

Authors/books in this genre I've read: Revolutionary War on Wednesday (Magic Treehouse Series) by Mary Pope Osborne, George Washington's Spy by Elvira Wooddruff, The Civil War Trilogy by Michael and Jeff Shaara (*see note above), and Wench by Dolen Perkins-Valdez. 

You can view the entire Between the Covers of 4RV - What Editors Want on Youtube at https://youtu.be/W7ITlUoImwo

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and three adult children. Visit Cheryl's children’s book blog at https://childrensandteensbookconnection.wordpress.com

Book Marketing - Every Author Needs to Know About It

By Karen Cioffi

I used to write a lot about book marketing and content marketing but I’ve gravitated more toward writing, specifically children's writing over the last eight or so years.

The thing is, while writing has a beginning, middle, and end, marketing and selling your book is never-ending … if you want to sell books.

This is why knowing about book marketing is crucial to every author.

When I read Neil Patel’s article on his content marketing formula, I knew I had to share it.

Before I dive in, let me explain these terms.

Book Marketing

This marketing strategy is ‘everything’ you do to bring visibility to your book and actually sell it.

While there are some authors who just want to have a book written and don’t really care about selling it, most authors want to sell their books.

This is especially true of authors who spend money to self-publish their books where costs can be from under $1,000 to well over $5,000.

A few of my clients have spent well over $10,000 for just ONE book.

Recouping the money invested in your book is a big deal to most.

And, it’s just as important if you’re traditionally published. Your publisher will definitely want you to help sell your book/s.

In fact, it you and another author both submitted great manuscripts to a publisher, a determining factor on who gets the contract could be who has a better book marketing platform.

So, here are a few elements to know about before and after your book is available for sale:

1. Create a book worthy of publishing and learn about pricing it effectively
2. Create and maintain an author website
3. Write articles and post them on your website’s blog
4. Be active on social media and share your blog posts and those of other users
5. Get an email list going and maintain it
6. Look into guest blogging and interviews
7. While doing all this and more, start on your next book

Once your book is available for sale, you’ll also need to get book reviews and create an Amazon Author Page.

Content Marketing

This strategy is about writing and sharing content to your specific target audience.

According to Content Marketing Institute, “Content marketing is a strategic marketing approach focused on creating and distributing valuable, relevant, and consistent content to attract and retain a clearly defined audience — and, ultimately, to drive profitable customer action.”

To clarify a bit, it’s about bringing visibility to you and your product/s through content (things you write and share, like your blog posts). It’s about building a brand (what you want people to think of when they see your name or logo).

The marketing world is driven on content.

Below are a few strategies of content marketing:

1. Blogging
2. Video
3. Podcasts
4. Infographics
5. Sales pages on your website
6. Books

There are many other elements that go into these marketing strategies, but this should give you a basic understanding of both these terms.

And more importantly, it’s important to understand that pretty much everything you do to sell your book is a form of content marketing.

Now on to content marketing expert Neil Patel’s tips.

1. Optimize your headline.

Everything you write, whether a blog post or a description on social media, starts with a headline.

An example of this is the title of this article.

There are thousands and thousands of tidbits of information online, why would someone click on your bit of information?

The very first reason would be the headline. It’s what will initially grab the reader’s attention.

2. Add three internal links.

Internal links bring the reader from one page on your website to another.

It allows you to bring the reader at your website to other pages on your website and/or blog posts through clickable links.

3. Share your content on social media.

Once you put up a blog post, use sharing tools, and share it to your social networks.

4. Message everyone you link out to.

This tip pertains to external (outbound) links. Links from your website (usually from your blog post) to other websites.
http://www.writersonthemove.com/2018/01/seo-for-authors-part3-outbound-links-in.html

Patel recommends that you contact the site you’re linking out to and let them know that you’ve linked to their site from your blog post or webpage.

Ask the site to stop by and share the article.

5. Email blast your new blog posts.

Email your subscribers every time you post new content.

To learn the basics of email marketing, check out this article:
Email Marketing – 10 Top Reasons to BE Doing It
http://www.writersonthemove.com/2017/01/email-marketing-10-top-reasons-to-be.html

I know some of this may sound too complicated, but just knowing the basics will be of tremendous benefit to you.

So, give your book every chance at finding readers and making sales.

For a more in depth look at marketing your books, check out
Build Your Author-Writer Platform
http://wow-womenonwriting.com/classroom/KarenCioffi_WebsiteTrafficInboundMarketing.php 

ABOUT THE AUTHOR 

Karen Cioffi is an award-winning children’s author and children’s ghostwriter, rewriter, and coach with clients worldwide. She is also the founder and editor-in-chief of Writers on the Move and an author online platform instructor with WOW! Women on Writing.

Karen’s children’s books include “Walking Through Walls” and “The Case of the Stranded Bear.” She also has a DIY book, “How to Write Children’s Fiction Books.” You can check them out at: https://karencioffiwritingforchildren.com/karens-books/. If you need help with your children’s story, visit: https://karencioffiwritingforchildren.com.